A huge compression of grinding guitar riffs and stupefying bass, only upstaged on occasion by drumming that reminds me of the time my pet frog was squashed by seven falling refrigerators.
Paul Ferguson, Amazon Review of Thrak by King Crimson, February 2003
I hope Paul’s frog survived. In case you are wondering whether Paul liked the album, his review begins
Wow. I was simply astounded when I first heard this…
Paul gives the album five stars (not seven, one for each fridge…..?)
To continue with the pet frog analogy, one of my friends describes some contemporary classical music as sounding like ‘a fire in a pet shop’, and the music of King Crimson can sometimes seem similarly difficult.
But another ‘difficult’ composer Arnold Schoenberg wrote not just the atonal horrorshow (and I mean that in a good way) of Erwartung but also the moon-drenched Romantic lyricism of Verklärte Nacht:
Erwartung and Verklärte Nacht
King Crimson’s first album, In the Court of the Crimson King, now 50 years old, is still a difficult listen. The first two tracks perfectly demonstrate the two different styles, beginning with 21st Century Schizoid Man.
Cat's foot iron claw Neurosurgeons scream for more At paranoia's poison door 21st century schizoid man.
Greg Lake’s anguished, distorted cry ‘21st century schizoid man’ has become a cultural touchstone in the 21st century; sampled by Kanye West in Power
And used by Paco Rabanne to advertise Invictus
The song also features Tony Blair’s favourite guitar solo; and to celebrate the 50th anniversary of the song PRS Guitars have put the album artwork on a signature guitar
But 21st Century Schizoid Man, the first song on In the Court of the Crimson King is followed by the gentle pastoral musings of I Talk to the Wind.
21st Century Schizoid Man and I Talk to the Wind
And King Crimson can also write songs that are as Romantic and melodic as Schoenberg’s Verklärte Nacht – listen to the opening melody of Starless
For many years, In the Court of the Crimson King was the only album of theirs that I knew. I was reluctant to buy any more of their albums on cd without hearing them first.
Then I saw a video of them playing Frame by Frame from their album Discipline on the Old Grey Whistle Test. This was very different from the prog glory of The Crimson King. The track reminded me of part III of Steve Reich’s Electric Counterpoint – Fast, with its virtuoso playing, use of phasing and chorus effects (but not a chorus of Frogs). In both cases harmonic shifts turn a glittering surface into something deeper, more moving and engaging. I bought Discipline on cd and often returned to its post-punk discipline, sometimes edgy and occasionally slightly manic. But this didn’t really help me appreciate the whole of the King Crimson catalogue of 13 studio albums and about 457 live albums, as the two albums I now owned felt so different. This was partly because the two albums were over ten years apart, with only one member in both line-ups, a gentleman by the name of Robert Fripp esq.
Then in April 2019 a revelation. It was announced that King Crimson’s complete back catalogue of studio albums would be available to stream.
At last, I could listen to the albums without buying them. (In case you are worried, I have since bought six more of them on cd).
At about this time, I began working on a radio documentary about auditory illusions in music. The Presenter asked me to find a drummer who could talk about rhythmic illusions, so we went to interview Bill Bruford who I knew from his work with Yes, and also with King Crimson on Discipline. To prepare for the interview, I spent a whole weekend listening to the King Crimson albums that Bill had played on. They were dense, a difficult listen, but there was something that made me want to hear them again.
Bill had e-mailed me to suggest a couple of tracks that would illustrate the creation of rhythmic illusions. One of them was Sex Sleep Eat Drink Dream from King Crimson’s 1995 album Thrak. This is how he described the track,
The purpose here was to create an illusion of imminent chaos, something about to fall off the edge of the world, but in fact it’s not going to at all. It’s entirely precise…and it’s entirely notate-able if you wanted to.
Finally, it all made sense to me – the key to understanding King Crimson seems to be to view their music as precision-tooled dystopia.
Bill went on to say,
In King Crimson…there was always a call for a sense of a threat of impending doom.
I can see that music with a sense of impending doom isn’t going to be everyone’s cup of tea. But there is something visceral about the industrial funk of King Crimson of an album like Thrak. If you surrender to it, like the frog watching seven fridges falling towards it, the experience can be exhilarating, cathartic even.
My plan now is to review some of the King Crimson albums I have discovered in my next few blogs, starting with Thrak.
See you next time.