Larks' Tongues In Aspic

I really hate prog rock. I get the impression they think they're way more clever than they actually are. They're just farting about and making random noises. It's utterly tedious. There's a bit of nice violin in there which always gets my attention, and some nice piano and musical bits AT TIMES. That's where my 1 star is going. But it's like a feeble ray of light shining on a giant cloud of guff, which can't quite penetrate it and break free.

Aspic Rodeo anyone? Headphones are the way to go with this one. First, the headphones are critical to avoid the verbal and visual insubordination of family members who are within earshot. On my first attempt to listen without headphones, before the first song was done my son came home and bribed me by saying he would cook us dinner as long as I turned the damn thing off.  I was kinda hungry so . . . . Also, I was not getting into it since it's terrible background music. With headphones though it's a completely different story. The drums / timbales and strings on The Talking Drum are excellent. It has a middle eastern feel to it - even though the album is apparently Eastern Europe influenced.  Fripp is a master at getting his guitar to make sounds that other guitar players only hear in their dreams. He is also very good at making his guitar make normal guitar sounds as he shows on Book of Saturday.   I invented a game called  Aspic Rodeo to play when company comes over. I'll play this album and whoever lasts the longest  before asking me to turn it off wins. 

I’ve been pretty high, but never King Crimson high

I found myself constantly feeling like I was caught off-guard. This was despite going into this album with 0 expectations or knowledge of what it would be like. So much of it was unexpected. Take the first song Lark's Tongue in Aspic for example. It starts with a simple tune using what sounds like a glockenspiel or xylophone. Am I in kindergarten? What is this trash? Next thing I know I'm being blown away by a disgusting guitar solo. Then a cacophony of string and drum instruments. This is all just the first song. And I think oh so this is just a crazy experimental instrumental album or something? Next song, Book of Saturday, features mostly vocals and sounds a lot like Tool. There's animal sounds, the unmistakable sound of feet sloshing through the mud, and just a vast array of instruments you don't normally hear. You can feel a Pink Floyd influence reminiscent of Time. My first listen to this album was a trip to say the least.

Ohhh, finally! An album that I already listened complete before I started this challenge! Ok, so let's start by saying that King Crimson is my favourite band. Like, not just my favourite prog rock band, my favourite band of ALL times alongside The Beatles, Queen and Black Sabbath. Each of its albums, except for In The Wake of Poseidon, are extremely different from each other and almost feel like they were made by different bands, and they technically are, since the lineup of the project has changed thousands of times, the only constant member being Robert Fripp. And from all of their studio albums, LTIA is definitely one of the weirdest ones, but it has some of the most talented musicians working on it, namely Jamie Muir and Bill Bruford, and many others. Even though this is not my favourite album of King Crimson (I would put it in fifth or sixth place in a ranking) it is still a great and hugely influential album, mixing classic prog rock with world music, neo-classical sounds, heavy metal and possibly one of the earliest prog metal and avant-garde metal songs in history: the Larks' Tongues in Aspics suite, which has five parts, that span four albums and 30 years in the making. It is possible that bands like TOOL or Dream Theater would have never existed without this album so I guess that deserves at least four stars. Screw it, the album cover is my profile photo of Discord, I'll give it five stars

A highly inaccessible King Crimson that grows with every listen. Employing a lot of space, these tracks take their time and involve a lot of carefully planned improvisation that's very entrancing to focus on. No bad tracks, every one stood out and felt necessary, which has a leg over In the Court which has "Moonchild." Overall though, it's not as powerful as In the Court's tracks, but about as memorable. "Larks Tongue Part I" is characterized by a juxtaposition between pleasant but sometimes concerning violin textures, and a high-tone metallic guitar that goes hard. It's simple but has so much to offer, taking so many turns along the way, changing the mood and vibe multiple times by the time it reaches the end. "Book of Saturday" is our short pop song, very pleasant, groovy, and folk-like, as if telling a medieval tale. Just three strings (the guitar, violin, and bass), and they're all unpredictable, going wherever they like, but also clear. "Exiles" has a calming cool jazz structure. Very smooth and colorful with a satisfying conclusion. The second side takes a turn as the mood tenses and starts to rock. "Easy Money" immediately gets into it, with a chilling introduction followed by a confusing complicated middle section that introduces all sorts of strange sounds and effects. Ironically enough, despite having the strangest sounds, it has the most consistent groove (between the beat and bassline) and is thus the most accessible track (after "Book of Saturday" of course), dominated by an easy-to-follow cool guitar. "The Talking Drum" is a personal favorite. It's a couple minutes of quiet sparse noise until instruments come in, forming some krautrock-like sound, gradually and gradually building up in anticipation until it explodes into greatness. It's the most frightening track, with the violin and guitar fighting as they get louder and more dissonant. This segues to our final track, the epic "Larks Tongue Part II." It's our hardest rock, very fast-paced and in-your-face but still has its quiet moments. It explodes one more time before ending the whole record.

not shot these mf actually made this in 1973

Not bad but just a bit too much progressive and not enough rock to keep me entertained and intrigued

prog noodling outweighs good tunes

What an absolutely fascinating band. Ever-changing, ever-evolving, and always original and creative. Robert Fripp to this day seems to me to possess such an interesting and curious mind. And, of course, what a guitarist. I love the way he uses the instrument; very much on his own path. So refreshing. Great album art, too, by the way. I need to explore more of King Crimson's and Robert Fripp's work. I've listened to some of Robert Fripp's ambient music albums this year, and they are excellent. I know a few people who have seen King Crimson play live, even quite recently, and they raved about the experience. I hope to get out to see them one of these days -- would be such a treat!

Some cool moments, plus a bunch of proggy nonsense

Garbage! Why is this on the list?

This one was absolutely sick. I had only known King Crimson from their debut record, which is also great. They definitely switched up their sound on this one, as they basically had an entirely new lineup except Fripp. I think they leaned more heavily into the psych sound with this one. All the theatrical high points of their debut are now replaced with noisy psych freakouts. The musicianship is out of this world. No seriously, you'll be transported to another world while listening to this.

The best of the Fripp/Wetton/Bruford era. A pure smorgasbord of sound, I just can't get enough. Exiles being the only real downside, but the guitar/bass interplay is intricate, beautiful. Crimson, and Fripp especially, had a way of giving soul and feeling (whatever that is) to their odd-time, meanderings. And this doesn't work at ALL without the musical confidence each of the members brings to the party. Very communal. Nothing else like it. Obviously not for everyone but gods among prog fans such as myself.

gloriously weird. 5 stars.

Thought it was absolutely brilliant.

Some all time prog rock wankery here. Lots to love here. The plinky noises at the intro to the title track building up the explosions of noise later in the track. The reverse sounding guitars on The Book Of Saturday. The use of violin and strings throughout reminds of Jethro Tull and their flute. Bill Bruford really decided to leave Yes because Close To The Edge was laborious to show up here and do nonsense like this. It’s still amazing to me how I can love something like this yet still not love EL&P.

Hadn't listened to the one at all, I only know the screaming man album. Really enjoyed it, it sounds like the birth of math rock!

Forward thinking and frequently challenging, Larks’ Tongues in Aspic captures the totality of King Crimson better than just about any other record in their catalog. From the avant-garde soundscapes and unrelenting heaviness of Larks’ Tongues in Aspic Parts I & II, to the sheer beauty of Exiles and Book of Saturdays, and the expansive, polyrhythmic funkiness of Easy Money, King Crimson is at its absolute finest here, delivering one of the greatest progressive rock albums ever made.

This is already a 5 star album for me, but it was fun to do an experiment, as I listened to the streaming album, which I am sure 99% of the people on this site do, and then I listened to my personal Steven Wilson Mix of the album on vinyl, and it is truly night and day. So it makes me wonder how much are some of these albums missed, by listening on your phone or in your car with other distractions. I listened with headphones, no distractions (only to get up and flip the record over) and it was really the way albums were meant to be listened to.

Be ready to act as DJ on the volume button - King Crimson mixing is in a league of its own. Larks’ Tongues In Aspic contains some of what you would expect from a KC album from this era - but then it also contains what could easily be described as progressive metal … In 1973. It’s an insane album and a formidable journey through an ocean of ideas and inspirations. Fripp is a mad man, but a welcome one.

Pretty Frippin’ good!

PROG FUCKING PROG!

Had no idea what this was going in, and now I am halfway through I still have no idea. It's as if Jazz, fell into medieval music, held hands, ran through a wind chime. Then, they grabbed some extra instruments and did 'things'. It's a semi-cohesive experimental upset. And yes, everyone should listen once cause wtf did I just go through?

yuck sound

Most people count get this. It's British, it's Prog, and it's King Crimson. This isn't poppy pap with young "ladies" strutting their stuff and wriggling their bums. This isn't stoned stoners who can barely stand never mind play. This isn't twee C&W. This is real music. Music you have to listen to. Not music for the background, or while your washing dishes, hoovering or in the bath. Music you have to really listen to, and listen to again, and again. Only then, and only if you have the intelligence, will you appreciate the beauty.

I can't imagine what Crimson fans thought in 1972. King Crimson had been grooving to the band from "Islands." They had been touring throughout 71 and 72, playing stuff, improvising (but those improvs were more "jams" than the improvisations they did later). Then, that line-up was over. John Wetton had been gravitating towards the band. He was considered to be the bass player for the "Islands" line-up. Fripp wanted someone on "his side," but John declined. Bill Bruford had left Yes for this. "So.. you think, you're ready now, Bill?" Fripp asked him. He was, but had a lot to learn still. His education came from the other percussionist, Jamie Muir. The two of them really play off each other well. The last key to the puzzle ws David Cross. He and Muir brought the light touch to the heavy boom of Wetton and Bruford. The album itself, does not totally reflect the improvisational idea of the band. They would go out and pretty much have no set "songs," and would go off to some strange musical place. The only song that is vert structured (to me) is "Larks' (Part II)." Everything else feels very loose. The first part, which opens the album, has a very tense opening and then EXPLODES out. "Book of Saturday" is one of my wife's favorite songs. It is a short, but beautiful song. "Exiles" is probably (to me) the weakest song, but it's still a great piece. Live, they would expand on the intro and you realize the song is not as tightly composed as you thought from the album. "Easy Money"... man, what a stomper. Another one that is extended improvisationally. The middle part is a little sinister but mostly fun. The one-two punch of "Talking Drum" and "Larks' (Part II)"... you can tell the shift, the first of the two is very improv, but builds and builds to the Part 2. If you can listen to this line-up live, I would recommend it. They definitely refined the energy from those shows to this. Great album.

Big King Crimson fan here, so definitely biased. Personally, if I wanted to represent KC's Wetton-era, I would have chosen Red. Much more accessible yet still just as groundbreaking (and Starless is one of my favorite songs of all time - and I'm not alone as it's currently ranked as the #2 song of all time on rateyourmusic.com). But let's talk about this album. I try to imagine what this sounds like to the uninitiated and I can only think it would sound disjointed and aimless with a few cool moments here and there. The trick, though, is to recognize that this album has more in common with Stravinsky and Bartok than with Chuck Berry. If you listen to it like a symphony, you hear layers upon layers. And that's really what a song like LTIA Part I is - it's a modern symphony, played with rock instruments (well, and a violin and random percussion). However, unlike a symphony that might be written by a single composer, much of it is based on improv, which makes it have more in common with jazz. Take these elements together - classical, jazz, metal - and you've got King Crimson (at least 70s KC - 80s and beyond, which aren't included in the 1001, are a completely different animal. Check out Discipline for the perfect example). You're not going to dance to it, or bop to it, but perhaps you can appreciate it more (turn it up, too, because the volume differences are similar to a symphony as well). Continuing through the album, next we have Book of Saturday, a beautiful ballad - love the guitar line throughout the song and the backwards guitar solo into the violin solo is so good. Exiles is a song I didn't truly appreciate until David Cross did a re-make years later. Excellent song. Easy Money is a great track - a bit more "groovy" than the rest of the album, although it's a slow groove. Then, The Talking Drum gives us a cool jam with a slow build to LTIA Part II. I've seen them play this live and it gets incredibly intense, building up to LTIA Part II, which is a heavy metal instrumental unlike anything recorded to that point (again, had they picked Red, this style would have been well represented by that album's title track). Then the end is just pure majesty - it's my favorite track on the album. I realize this album isn't for everyone, but for me it's a masterpiece. Easy 5.

Outstanding. Musicianship, lyrics, range of tempos and volume. Perfect.

One of the best records you've never heard of. Admittedly took a few listens to fully click and has some more musically challenging moments, but the payoff is a boundary pushing, entertaining and kick-ass album that set a new standard for rock. A great album to sit with and appreciate that also rewards acute listeners

Calling this underrated would maybe be exaggerated, but I still think it deservesto be praised as much as the other 2 records, even if I slightly prefer Red

One of my favorite King Crimson albums. My favorite lineup of the band. It's hard to imagine in just a few years John Wetton would be in Asia singing Heat of the Moment.

Yep, shocker, like every other King Crimson record we’ve heard this was also very cool and very interesting throughout. I am just a big fan of this band. Not sure I can pick apart the different levels of quality yet but this is amazing.

What Pink Floyd should sound like.

I've never listened to this album before and i only know King Crimson for their most well known album. Lucky for me to find this one! It's very enjoyable and interesting, always progressing and ploting and metamorphosing. A very satisfying journey, I think I can sit here all afternoon listening to this on the loop. Definitely above 4, like, a solid 4.5 and above.

aika perkuleesti on juttua kuultu crimson pojasta..odotukset ylhäällä kuin hepokatti laitumella. ensimmäinen vartti instrumentalllia...sitten tulee roguh wadursmaista vokaalinlyräytystä... ei voi muuta kun antaa aplodit, koko albumi laatu kamaa... exiles

One of my fav prog-rock albums, because it delivers those epic, complex, long compositions that are super technical and impressive, but it balances them out with moments that are more gentle but very very beautiful. Really like this. Also has this super crazy vibe that makes it sound like it was recorded in 2050 but at the same time like it's coming from some ancient civilisations or some shit

Beautiful prog rock album by King Crimson. Instrumentation is more violin and "stranger" percussion than in earlier King Crimson. The slower songs are jazzy, but the up-tempo ones tend to metal.

Fairly silly album but cool cover and I love Easy Money and all of side two, really. Funny this would come a day after Yes's Close to The Edge because if I am not mistaken this album was the very next recording session for drummer extraordinaire Bill Bruford, jumping prog rock horses at just the right time, given how much more intense and purposeful this record is as compared to the amiable ambling and rambling of Siberian Khatru and the rest of Close To The Edge. Still, as prog rock this album is inescapably geeky in an incel sort of way. Perfect soundtrack to an epic game of Magic The Gathering. Definitely not the album to play to impress your date.

How funny (or perhaps deliberate) to get this album right after Yes' "Close To The Edge", which saw the exodus of Bill Bruford to King Crimson and the creation of this album soon thereafter. It would have been even better if this was the only King Crimson album in the collection, but alas, that's not the case (and I'm not entirely sure they warrant two albums in this collection, even if the lineups were totally different for each album). But at least King Crimson's form of noodling is more varied and somewhat more interesting than Yes', and that's definitely on parade in this album (which has a truly foul-sounding recipe for a title). I'm a bit hard-pressed to identify any standouts on this album, I'll admit, although I *will* say that I am very weary of the prog-rock era's ultra-long tracks, so Part I of the title track is definitely not on the shortlist. Thankfully, the following track "Book of Saturday" is a nice contrast in both length and accessibility. And I can see why "Exiles" was one of their concert standards, as it has a Pink-Floyd-esque-ness to it, although I liked the equally Pink-Floyd-inspired "Easy money" cosiderably more. Overall, though, I'd have voted for more of Robert Fripp's guitar (like in Part 2 of the title track) and a *lot* less of David Cross' violin. I think Alan Niester of Rolling Stone put it best about this album (and probably prog rock in general): "You can't dance to it, can't keep a beat to it, and it doesn't even make good background music for washing the dishes." Even the dishes of leftover aspic-coated poultry.

When it was rocking I liked it. When the prog kicked it there was just a lot of bad noise. 2.5/5

#521. After listening to The Court of the Crimson King, I was expecting big things from this, but no, this was boring as shit. 2/5: meh

This was 47 minutes of early 70s Prog Rock nonsense. A little too experimental for my liking.

Booooooring

fuck me what drugs were they taking. Its interesting I guess but I don't find it that enjoyable rn, probably deserves another listen.

I've been super disappointed in this album. I love the band and adore some of their other albums, but I find very little to get excited about with this.

The rate went down as the album went on, I mean, it’s a try hard effort. Has its (few) moments tho

Disturbing

Plus qu'un mois de dur labeur, on peut le faire rob

I don't want to say that one shouldn't record jam sessions, but to me, most of this album sounded like unrefined or unapplied musical exploration – the kind of playing that might be helpful in creating songs or warming up for gigs. This overall impression was overcome neither by the one song I enjoyed in its entirety nor the poetic intro and outro ordering of Parts I and II.

Listening to this was a fucking chore.

Disgusting.

There's good prog, bad prog, then there's this: cacophonous, guaranteed to cure constipation prog.

Yet another album proving why I despise most prog-rock. Senseless noise.

Self Indulgent never ending noise. I prayed and prayed for this to finally end

Starting the album with a 13 minutes instrumental track should be illegal, the rest of the album is also unlistenable.

Not for me, or anyone for the matter

Needs weed

Amazing idea, bad realisation. Did not enjoy it.

Sweet Jesus

Nope. Not my tempo.

Indulgent rubbish.

Couldn't hear half the album only last 2 songs, horrible

Tried two times to listen to it but it didn't hit the button for me, didn't finished 🥲

Awful. King Crimson did great stuff. None of that is on this messy unlistenable album.

Wow. Album is amazing. I love that there's sections of almost mellow, and then suddenly BAM you get hit with something absolutely sublime and otherworldly. Each track builds and builds until they become monumental. King Crimson buck a lot of the trends in modern music. There are no tightly produced 3 minute pop jingles here. This is closer to a symphony. They are clearly very inspired by classical music. This album is absolutely beautiful. I really hope to get In the Court of the Crimson King at some point, too. I particularly liked Exiles and The Talking Drum.

This is usually right up my alley, but it’s a lot to take in first thing in the morning.

This is a 4.5 stars for me. It's hard for me to give King Crimson less than 4 stars, and while I don't listen to them often, every time I do, I'm so impressed with the brilliance of their songwriting and their exploration and experimentation. Artists like King Crimson are what keeps music as an artistic medium going.

Great album. Experimental and the musicianship is spot on. Favourite track, Easy Money

6/5 this is my kind of music. I wonder if ADHA brains eat this up because it gives the mind something solid to digest while the body and other parts of the mind are busy doing something else? I will absolutely listen to this again and again!

Short, but fantastic

iets minder dan hun debuut, maar nog steeds steengoed

Another classic prog rock album. Solid from start to finish.

Thick sticky aural jam. I throughly enjoyed this album- and I don’t expect to.

This album is a landmark moment in progressive rock, the kind of record that feels like it’s constantly shifting under your feet. It opens with quiet, almost fragile textures before exploding into jagged, tightly controlled chaos, setting the tone for what’s to come. The level of precision in both the playing and the composition is extraordinary, balancing complexity with an unmistakable intensity. Tracks like “Larks’ Tongues in Aspic, Part One” and “Easy Money” are masterclasses in dynamics. They build slowly, then hit with an overwhelming force, combining ferocious guitar work, intricate percussion, and unsettling violin textures in a way that sounds unlike anything else from the era. Every instrument feels essential, nothing wasted, everything designed to push the tension higher. What makes this album so enduring is how alive it still feels. It’s experimental without losing its grip, heavy without being blunt, and layered without ever feeling overstuffed. Larks’ Tongues in Aspic is the sound of a band at full creative power, unafraid to take risks, and it remains one of the most electrifying prog rock statements ever made.

Probably in my top 3 King Crimson records.

Prog masterpiece.

New gem for me

So awesome and weird and great.

This was not a King Crimson album I would see as essential for a long time, but I just didn't listen to thoroughly. It is beautiful, genuinely beautiful. So experimental, so chaotic, yet at the same the it feels cohesive. Larks' Tongue In Aspic is exactly what Progressive Rock is all about, what music is all about

FUCK YES. Robert Fripp got tired of sounding jazzy, so he rebuilt King Crimson entirely, listened to a ton of free improvisation, and came out with the absolute heaviest album of 1973. Tangly, experimental, and full of delicious textures and build-up, all while going HARD AS FUCK. Easy 10/10.

One hell of a disorienting first listen, but I started picking up on that delicious prog rock goodness on the second one. This is one to truly unpack over the coming days and weeks; for now I'm content with a 4, there is a lot of interesting drumming and riffing through rhythm changes that kept me very engaged, especially on the back half. Weird, heavy, fun! Standouts: Larks' Tongues In Aspic (Part I) • Easy Money • The Talking Drum • Larks' Tongues In Aspic (Part II)

Great

Excellent album!

Absolutely incredible, especially Exiles!

prog materpiece

A melange of modern classical, improvisational prog rock/jazz, and proto-metal. Out of this eclectic mix, David Cross's violin work is especially transcendent. Overall: cinematic, lush, and heavy in equal measures.

Finally I get an album by KC in this list, I thought that was not going to happen and I was concerned! This is one of the band masterpieces, sounding heavy and complex at the same time (that opening!). I still prefer their 80s albums with a slightly different approach (more monotonous) but this is one of the 70s masterpiece, probably the best one.

Takes a while to get going, approx 3:40, but once it does it's just a dose of pure prog rock, the absolute wankery on show is amazing, borderline filthy. Sure they probably made it all up cause they were high as fuck, but they made it sound so good....

king crimson goated fr

This pairs so well with espresso. I was prog rocking out to my best abilities.

Always excited to listen to Larks' Tongues. Just a classic prog record. The title tracks stand out amongst the rest, but the whole thing is awesome. Heavy sections, tranquil sections, moody ambient sections. Takes you on a journey. *Heard before

Fuck yeah, dude. One of my favorite KC albums. My testicles are flowing with excitement.

Insane. Wow. Was expecting a little too much of the grandiose filler that eventually plagued prog rock, but this was felt very deliberate and necessary in every way. Shoutouts to Easy Money.

Anyone who hates prog is probably right, but King Crimson is one of the best and this album is incredible. Considering the turnover the band had it's wild that the album carries such nuance and experimentation vs where they started. Easy Money isn't my favourite but Larks' Tongues in Aspic Part I and II and The Talking Drum are unreal. There are so many songs that can grab your attention if you give it the time and attention. Truly an album that you find more in the more you listen.

On first listen I wasn't sure what to make of this. It's my first real King Crimson listen. Second listen I did it right headphones and eyes closed. Dynamic. An intense listen. For a number of the tracks I was visualizing a factory that just makes 3D shapes. Moving along conveyor belts, being sorted and packed up. Organized chaos, composition is king.

**King Crimson – Larks’ Tongues in Aspic: In-Depth Review** **Overview and Context** Released in March 1973, *Larks’ Tongues in Aspic* marked a radical reinvention for King Crimson. With Robert Fripp as the only remaining original member, the band’s new lineup—John Wetton (bass/vocals), Bill Bruford (drums), David Cross (violin/keys), and Jamie Muir (percussion)—created an album that is both a milestone of progressive rock and a bold experiment in sound and structure[1][2]. This record is widely recognized as a turning point, not just for King Crimson but for the genre itself, blending avant-garde, jazz fusion, classical modernism, and proto-metal into a cohesive yet challenging whole[3][1][2]. **Music and Arrangements** *Larks’ Tongues in Aspic* is a showcase of musical daring and technical prowess. The album’s sound is defined by: - **Angular, aggressive compositions:** The music is often jagged and unpredictable, with sudden dynamic shifts and complex time signatures. The influence of free jazz, modern classical (notably Bartók), and the raw energy of heavy rock is ever-present. Fripp himself described the goal as “Jimi Hendrix playing Bela Bartók”[3]. - **Unique instrumentation:** The band replaced woodwinds with Cross’s violin, and Muir’s percussion arsenal included thumb pianos, bells, found objects, and even a musical saw, creating a soundscape that is both percussive and texturally rich[1][4]. - **Jazz fusion and improvisation:** The instrumental sections, especially in the title tracks and “The Talking Drum,” draw heavily from jazz fusion and European free improvisation, with a rhythmic complexity that verges on the chaotic but never loses focus[3][1][4]. - **Heavy, metallic edge:** The guitar and bass are often distorted and thunderous, foreshadowing the heavier direction progressive rock would take in later decades[3][4]. - **Mellotron and violin textures:** The Mellotron remains a signature element, adding haunting, orchestral layers, while Cross’s violin provides both lyrical beauty and abrasive energy[1][4]. **Track-by-Track Highlights** - **“Larks’ Tongues in Aspic, Part One”:** Opens with delicate thumb piano and chimes, gradually building into a furious, multi-sectioned instrumental. Muir’s percussive contributions are at their most pronounced here, and the piece’s dynamic range is breathtaking[3][4]. - **“Book of Saturday”:** A brief, melodic respite, featuring Wetton’s plaintive vocals and Cross’s elegant violin. Fripp’s backwards guitar solo adds a surreal touch[3][4]. - **“Exiles”:** A moody, atmospheric piece with a memorable Mellotron intro and one of Fripp’s most expressive guitar solos. The interplay between violin and guitar is especially poignant[3][4]. - **“Easy Money”:** A syncopated, bluesy rocker with biting lyrics and a propulsive rhythm section. The song’s live versions became legendary for their improvisational fire[3][4]. - **“The Talking Drum”:** A slow-burning instrumental that builds relentless tension through layered percussion and gradually intensifying instrumentation, culminating in cacophony before segueing into the album’s climax[3][4][2]. - **“Larks’ Tongues in Aspic, Part Two”:** A heavy, riff-driven piece that balances irregular time signatures and thunderous bass, laying the groundwork for much of King Crimson’s later output[3][4]. **Lyrics and Themes** Lyrically, *Larks’ Tongues in Aspic* is less celebrated than its music. The departure of lyricist Peter Sinfield led to a shift; Richard Palmer-James provided more oblique, less florid words. The lyrics tend to be introspective, enigmatic, and sometimes cryptic, focusing on alienation, existential uncertainty, and fleeting moments of beauty[5]. - **“Book of Saturday”** and **“Exiles”** are the most lyrically poignant, exploring themes of memory, longing, and displacement. - **“Easy Money”** offers biting social commentary, laced with irony and cynicism. - The instrumental tracks, which bookend the album and take up much of its runtime, emphasize King Crimson’s move towards music as pure expression, with less reliance on narrative or verbal meaning[5]. While the lyrics serve the music’s mood, some critics view them as a weak point, lacking the poetic depth of earlier Crimson records[5]. **Production** The album’s production, originally handled by the band, was ambitious for its time. The 40th Anniversary Edition, remixed by Steven Wilson, reveals previously buried details: - **Clarity and separation:** Wilson’s remix brings out the nuances of Muir’s percussion, Bruford’s intricate drumming, and Wetton’s powerful bass, allowing each instrument space to breathe[4]. - **Dynamic range:** The album’s wide swings from near-silence to explosive volume are preserved and enhanced, making the listening experience immersive and dramatic[3][4]. - **Surround sound experience:** The 5.1 surround mix, in particular, highlights the album’s spatial qualities, with instruments and effects swirling around the listener[4]. The only notable production flaw is a slight tempo issue in “The Talking Drum,” where the track slows as it builds in intensity—a minor quibble in an otherwise masterful recording[2]. **Themes and Artistic Vision** *Larks’ Tongues in Aspic* is thematically about transformation, tension, and release. The title itself, suggested by Muir, represents “something precious which is stuck, but visible. Something precious, which is encased in form”[1]. This metaphor is reflected in the music’s structure: moments of beauty are encased in abrasive, challenging forms; serenity is shattered by violence; complexity gives way to simplicity and vice versa. The album is also about **collaboration and conflict**. The unique chemistry—and sometimes friction—between the five musicians is palpable. The band’s willingness to embrace improvisation, risk, and even chaos is a central part of its identity[2]. **Influence and Legacy** *Larks’ Tongues in Aspic* is considered a landmark in progressive rock, influencing generations of musicians: - **Jazz fusion and experimental rock:** The album’s fusion of jazz, classical, and rock elements inspired bands like Mahavishnu Orchestra and later prog acts. - **Heavy and math rock:** The aggressive, riff-driven instrumentals prefigure genres like math rock and progressive metal. - **King Crimson’s own evolution:** The rhythmic and harmonic ideas explored here became foundational for the band’s later work, with “Larks’ Tongues in Aspic, Part Two” spawning several sequels and inspiring the band’s ongoing exploration of complex instrumental music[3][1][4]. **Pros and Cons** | Pros | Cons | |---|---| | **Groundbreaking musical innovation:** The album’s blend of genres and experimental approach set a new standard for progressive rock. | **Lyrics are less compelling:** Compared to earlier Crimson albums, the lyrics are often seen as less poetic and memorable[5]. | | **Virtuosic musicianship:** Every member delivers standout performances, with special mention to Bruford’s drumming, Wetton’s bass, and Muir’s inventive percussion[3][4]. | **Not immediately accessible:** The album’s complexity and abrasive moments can be off-putting to casual listeners. | | **Dynamic production:** The 40th Anniversary remix brings out new details and enhances the listening experience[4]. | **Some production quirks:** Minor issues, such as the tempo drag in “The Talking Drum,” are present[2]. | | **Cohesive artistic vision:** The album’s structure and thematic unity are impressive, balancing chaos and order. | **Vocals less prominent:** Wetton’s vocals, while strong, are less central than the music, and some may miss the earlier, more song-oriented style. | | **Influential legacy:** The album’s impact on progressive, experimental, and heavy music is immense[3][1][4]. | **Lineup short-lived:** This unique combination of musicians only lasted for this album, making it a one-off in Crimson’s catalog[1]. | **Conclusion** *Larks’ Tongues in Aspic* is a challenging, exhilarating, and deeply rewarding album. It stands as a testament to King Crimson’s relentless pursuit of innovation, their willingness to embrace risk, and their capacity to merge disparate influences into a singular artistic statement. While its lyrics may not reach the heights of earlier works, and its complexity may alienate some listeners, the album’s musical achievements are undeniable. Its influence continues to reverberate through progressive and experimental music, and its best moments remain unmatched in their intensity and inventiveness.

Llegamos al 26 con éste bandón icónico, uno de los que me acompañó en mis veintitantos. No recuerdo si conocía la banda de antes o si fue por mi primera novia pero relaciono mucho a King Crimson y a otras bandas hermosas de esos años con ella. "Larks' Tongues In Aspic Part I" ya comienza (tanto por ser primera canción como por su apertura) de manera reflexiva y luego viaja hacia el caos, del que sólo King Crimson puede plantearnos una ruta. El resto del álbum continúa con canciones instrumentales y cantadas, pero siempre desde la hermosa complejidad que es esta banda. Muchas gracias y hasta mañana.

I deliberately held off on scoring this for a while as I wanted it to sit with me for a bit, and relisten a few times. After having done so, I think it crosses the border into a five. I find the vocals to be the weakest point - some minor tuning issues, but musically, this is excellent.

I’m pissed that I’m like 900 albums in and only just now got my first King Crimson album lmao this isn’t even their best album, but it’s still fucking incredible - 10/10