Reviews (page 2 of 7)
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.
It's just so fuckin' good.
Hell yeah, King Crimson is a certified chef. Bro COOKS!
I never really listened to King Crimson, but man are they good. Some of the best prog rock hands down.
Ok, I get why King Crimson are considered the God Fathers of prog rock. I hear all kinds of artists in this album!
This will definitely not be for everyone. But King Crimson is imo one of the greatest bands in history. Their strength is that they reinvented themselves periodically with, aside from bandeader Robert Fripp, a complete change of band members. This album was one of three that the 70s incarnation of the band recorded and as far as I know they played it differently every time they performed it. The album is varied and doesn't shy away from experimentation. And the titular track is an absolute monster.
Blew. Me. Away. The filthy guitar riff in the opening track. The beautiful vocal lines in "Book of Saturday". That groove at the beginning of "Easy Money" and the sick bass line during the psychedelic freakout later in this track. I could go on endlessly. At no point did I know where the band would take us next. And boy did they create places to take us! Masterpiece. Might become a proper 5/5 in the future. For now: 4.5/5 - near perfect
A weird, original, jazzy and very instrumental album that demands your full attention, aka a true King Crimson album. I struggle to say something profound but it is just amazing, it is King Crimson and that should be enough on its own.
Aldrig hørt det her før. Synes det er helt genialt. Det er dragende, mystisk, rørende og til tider voldsomt. Whats not to like. The talking drum er noget af det fedeste jeg har hørt i lang tid. Ikke er dårligt nummer her for mig og skal helt sikkert høre mere King Crimson
Fascinating album, pink Crimson is always great. Five stars.
KC at their most expansive and experimental. Fantastic music, with lots of variety and groove. 5.0/5.0: Iconic
killer
Robert Fripp is a savant and here he allows the band to roam and explore improvised themes. Still the instrumental parts sound like a well-choreographed classical soundtrack to a world-class puppet-show. There is struggle, drama, and death in these tracks. In fact, there’s a moment at the end of Lark’s Toungue I that, for me, perfectly crystallizes the essential beauty and futility of life’s struggles. It’s really moving. Bill Bruford is the very best of the prog rock drummers. John Wetton is not the very best vocalist, but he gets the job done on the few traditional songs that are here. I’ve loved this album for a long time. A 5.
One of their best albums, featuring one of their best lineups. Wetton and Bruford in particular were generational pulls on behalf of Fripp; I'm not surprised they were the last to go during this period (Bruford even coming back during the bands next incarnation in the 80s). Constantly veers back and forth between rather eccentric, improv-heavy jamming and screeching heavy metal riffing. Worth a listen just for both parts of the title track alone. Listen to 1974's Red if you enjoyed this record, it's the magnum opus of this era of KC. 9/10.
I have fond memories of getting violently high with my buddy and watching the music video for Larks' Tongues some years ago. So I was right at home right as it starts. This album is certainly weird but in a cool way, and Bruford on drums just makes every odd time signature sound natural. Really cool album
my favorite king crimson lineup, and probably my almost certainly my favorite king crimson album period. its hard to find any other prog that is this amorphous but this Physical....often feels less like ur listening to songs than ur rubbing ur face on intricate materials...this is not at all music for the delivery of notes, but for the delivery of the Tactility of itself. and that sounds so punishingly abstract, but somehow, through sheer force of honest-to-god genius, fripp and co created a set of tracks that all feel immediately distinct in their feelings and shapes, creating strong threads where the structure is intuitively obvious but often entirely subconscious. and after stringing you through so much darkness and light, often defined by the feeling that the band is only using a fraction of its power, it hits you with larks tongues 2, one of the most honest to god Riff Rock masterpieces in the genre, this huge transcendental reward for surviving this pilgrimage. there is certainly less hard hitting capital s Songwriting on this than the likes of red (which also has a good argument for being my favorite king crimson), but its literally every bit as memorable while having zero emphasis on "hooks." no one but this group of people would have thought to make rock music like this at this time, and even if they did, no one could have pulled it off like this. captures that feeling of Limitlessness that makes prog tick more than just about any other prog record
King Crimson is the best. I can’t think of a popular musician that has a more pure artistic vision than Robert Fripp. He is completely uncompromising in his ethics. Curiously, he is the only member to survive all iterations, but insisted on musical democracy. I’ve always been unclear about their obsession with Larks’ Tongue in Aspic. I’m sure it was delicious to Kings of the past. Anyway, you should listen to more King Crimson. It’s soul feeding music.
EPIC!!!
Unhinged! Insanity distilled into song
Not my favorite Crimson, but my favorite band.
Dynamic texture.
I might just be in my 70s experimental and prog-rock era, but really enjoyed this. Robert Fripp is one of the greatest guitarist in history, and the music here is excellent. Highlight is "Exiles" but each song on the album is given the space and time to develop into something really special.
My type of noises arranged as cinematic as possible
Another Heavy (capital H) prog album and one I wasn't particularly familiar with. Particularly detached, but rewarding on multiple listens. This is a very surprising and unusual listen that covers some interesting ground. Also, Pt.2 sounds an awful lot like Proto Primus and I love it.
Certainly not as phenomenal as In The Court of the Crimson King, that is also on the list, but it is still a King Crimson album. I'd put fee of their records above this one but Lark's Tounges shine with KC genius all over the place. Some of the heaviest riffs of theirs, a lot of genres put together, with psychadelic KC feel. What else can I say? It's a prog rock classic, one of the easiest 5 stars on the list.
I dont like aspic but it is the most delicious one.
I do think the elemental mixs does its justice
idk whats a 5 even
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A terrific album with a cracking and line up.
Peenar
I wasn't confident going i when I saw 'prog rock' but this was a fantastic listening experience. It throws you off guard from the first couple of minutes with the 'plinky' Middle-Eastern noises in the intro leading into a filthy guitar solo, setting up a fourteen minute epic. Then, Book of Saturday is a more 'normal' mellow Pink Floyd-esque track, with some well worked reverse guitars. The rest of the album is more akin to the intro song, with a slightly mad blend of improv jazz, classical music and a sprinkling of metal. Fripp's guitar is sensational throughout. My favourite track is probably The Talking Drum - the building tempo from the drums and bass overlaid by violin and eventually guitar is incredible. 9/10
One of the greatest albums of all time!
Feels like five virtuosos fighting over which genre they’re in while a violin screams in the corner. And that's the beauty of King Crimson.
4.5
This album is great. There are so many layers and influences that merge so well in here that make this album a very immersive and interesting experience. I've liked and enjoyed a lot listening to it.
As someone who is a fan of experimental music I loved this one. While I wouldn't call this my favourite King Crimson album (that'd be 'Discipline', at least at time of writing), it's still definitely one of the best prog rock albums I've ever heard and a high point for the genre. Composition-wise, the music on this album is just amazing, incorporating both conventional and very unusual sounds and other musical elements just seamlessly without ever coming across as purposefully complex or pretentious. The songs themselves, while long, never outstay their welcome and have this natural feeling of build and flow to them that I feel is unfortunately often lacking from many other songs in the genre, while simultaneously being really out there and experimental for the time. While this album isn't necessarily all that accessible and definitely not to everyone's liking, if you're willing to take the time to appreciate it for what it is, it's a blast to listen to. 5/5
A great album. King Crimson wrote prototypical pieces for many successful successors. Unfortunately, I discovered the band late, but then I was thrilled. I liked this album so much that I even enjoyed listening to the recording session extracts that were included on my version of the album. 5/5
You can definitely see how amazing bands like The Mars Volta drew inspiration from this great album. Excellent work.
Fantastic remodeling of the 60's King Crimson. Was luck enough to see this material played live at the Majestic Theater in Dallas, 1973. This is high on my list of all time top LPs.
Beautiful album.
Can't live
Nå begynner det å bli en stund siden jeg hørte In the Court of the Crimson King i sin helhet, men jeg mener dette albumet har en bedre helhet? Selv om den ikke har låter av "21st Century Schizoid Man"-kaliber. Tittelsporene er gromme instrumentaler som bare låter slik prog skal låte. Fiolinen blender inn perfekt og er et subtilt høydepunkt der den dukker opp. "Easy Money" kunne like gjerne vært en av de bedre Pink Floyd-låtene. PF er litt hypa, men de har jo også noen gode låter. "The Talking Drum" er litt nørd, men det er vel obligatorisk at trommeslageren på et progalbum får vist seg litt fram. Heldigvis er det fiolin der. Alt i alt en plate jeg gjerne hører flere ganger og føler jeg allerede burde ha hørt en god del gjennom livet.
Har ikke hørt dette King Crimson albumet før. For meg er Discipline det ultimate King Crimson albumet og stusser over hvorfor det ikke er med i lista. Men når jeg hører dette forstår jeg veldig godt hvorfor dette er med!
This is usually right up my alley, but it’s a lot to take in first thing in the morning.
estou totalmente obcecada nesses queridos. coisa linda o uso desses violinos.
Eclectic. Creative. Groundbreaking. Full and lush. Ahead of its time. Great first listen to an album that I’ve never heard by a band that has been recommended to me by many people.
Probably in my top 3 King Crimson records.
Prog masterpiece.
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....
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.
"Larks' Tongues in Aspic" is the fifth studio album by English progressive rock group King Crimson. Progressive rock, avant-garde metal and free improvisation are the Wiki-listed genres. I guess I can't argue with any of those on this album. It was the debut of the third incarnation of King Crimson with founding member and guitarist Robert Fripp and four new members including John Wetton (bass, vocalist), David Cross (violin, keyboards), James Muir (percussion) and Bill Bruford (drums). It was noted as "a key album on the band's evolution drawing on Eastern European modernist classical music and European free improvisation." Commercially, it reached #20 in the UK and #61 in the US. It takes awhile for the music to kick in on the opener and 13-minute long instrumental "Larks' Tongues in Aspic, Part I" and it's the bells. Then a fast violin, fuzz guitar and various percussion sounds. They go slow. There are a lot of speed changes in these songs. Then bam!, there's your heavy metal guitar and bass. Some more percussion and violin. A sad violin sound ends the song. "Exiles" begins with a swirling noise. Wetton singing with very much a longing feeling. Fripp gives a more jazzy guitar. A dramatic ending with a drum roll and violin. Unlike the other songs ""Easy Money" starts loud with pounding drums and a nosy guitar. The fast-slow thing going on again. A song about capitalism. Yeah, this song does remind me of another "Money" song that came out in 1973. The closing song is Part II of "Larks' Tongues in Aspic." An aggressive start. The violin sound gives this a Middle Eastern flair. A memorable cacophonic ending with all instruments on a volume 10 setting. This album moves quick for only six long and mostly instrumental songs. It's complex with changes in tempo, instruments, loudness and styles (classical, jazz, hard rock). There is a lot of improvisation. The MVP might be the creative use of the violin but there's a lot to like here with all the instruments. For a progressive rock album, there was very little reliance on synths or keyboards which was different. I liked this album quite a bit and, yeah, it's in the conversation for one of the best prog rock albums.
What an album!
Fantastic. Always loved King Crimson. Not my favourite album by them. But it's incredible stuff.
Fucking love this album
Prog
goated
really cool prog album. i've never really listened to anything by king crimson outside of 'in the court of the crimson king' so i was really excited to listen to this one when it came up. luckily, i really loved this one too. some really interesting sounds tonally but it still has that great 70s prog sound and the production is great. i especially loved the inclusion of bill bruford here, who does a great job on the drums (as always). yeah, really great stuff!
It turns out that through this list I've learned that I love prog rock and have done a deep dive into the genre only wanting to go deeper. While In the Court of the Crimson King is an easy five-star album for creating the genre, Larks' Tongues In Aspic is another that goes in a completely different direction and nails it again. 5/5
the origin of the world!!!
Never listened to King Crimson so this was a pretty eye opening experience for me
Yea! Some good music for a change!
Pretty amazing, I hadn't listened to this whole thing before but I recognized something from it being KC fan. I loved the weirdness of this, plus the album cover is so interesting! easy 5 star.
One of my favorite King Crimson albums across all their various lineups. Both parts of the title track presage Prog Metal. When the band first bursts in, the riff is reminiscent of Black Sabbath, but it gives way to Robert Fripp's signature angular cross-picking moto perpetuo. This is an early incarnation of it, later perfected and further honed for the next 50(!) years. Bill Bruford is fresh off leaving Yes after recording Close To The Edge. He was already one of the best drummers in the rock world (progressive or otherwise), and King Crimson afforded him the space and the push to somehow improve. His drumming throughout this album is unmatched. John Wetton is a perfect vocalist and bassist for this KC era. There are similarities to Greg Lake's voice, so he bridges a bit of the past with the future of the band. His voice is strong with good depth. His bass playing is a wonderful complement to both Fripp's guitar work and Bruford's drumming. David Cross adds interesting layers of violin, viola, and flute. His contributions really set this and the follow-up (Starless and Bible Black) apart from the rest of the King Crimson catalog. Jamie Muir adds percussion chaos. Book of Saturday and Exiles are beautiful, if dark, songs. Easy Money is playful (and dark). The Talking Drum is one long crescendo whose payoff is the crushing pt.2 of the title track. For 1973, this album is insane. Some of the best progressive metal since could not exist without this album. This album won't be for everyone. And I don't mean that in a snotty/snobby way. There's a good deal of improvisation, but not in the usual structured manner that most rock and jazz fans may be accustomed to, and that can turn some listeners off. Like most progressive rock from that era, solid arguments could be made for tightening up the arrangements and cutting run times, particularly if the improvisations aren't your thing, or the general repetition of riffs/vamps is tedious for you. Me? I love every bit of it. 5 stars. 5 stars.
Really good beats! Loved the random improvisations
Oh fuck yeah! I actually went and grabbed my better set of headphones about a minute into the first song because I knew I needed to experience this in HD surround sound. Musically this was such an amazing experience. Every song was so different but also flowed together perfectly? The title tracks are such a unique listening experience and are so obviously influential but in almost completely different ways. There's experimental prog and hard rock and beautiful instrumentals. I could have done without the screaming at the end of the penultimate track, but everything else was damn near flawless.
Finally something interesting!
We’ve had our one king crimson. This is good but the other one was better. And quite ironic given the album before this one was never mind the bollocks. It’s good though inessential. 3.5. Wetton and bruford though. Maybe 4.
Fantastic album. These guys were experimenting with quite a bit in their time, and they were much of the inspiration for my all time favorite band who came after them.
Over too quickly. I thoroughly enjoyed this one. Particularly the instrumentals.
beautiful
As usual from King Crimson’s early albums, a perfect blend of interesting instrumental jams and accessible rock songs with a twist. The GOATs
Right up my alley
Utter genius - Robert Fripp is god!!! This album is absolute genius
Mind blower, one word, mind blower
A masterpiece of prog. Solid 5 Stars.
I just had the most wonderful time listening to this on vinyl with my new headphones. The album sounded better than I've ever heard it before, what a sublime experience :) This album is a monumental achievement, towering amongst the great creative works of the 20th century. Truly a work of artistic genius and technical mastery. One of the best aspects of the album is its masterful use of dynamics. The instrumental sections are thrilling and diverse, and the musical build-ups are electrifying. The band starts with a "basic" framework, but slowly and seamlessly raises the intensity to a frenzy. The way the musicians vary their playing to increase the impact of the music is just incredible. The Talking Drum is one of the greatest examples of musical build-up I've ever heard: it starts with a soft beginning, but reaches a state of exhiliration before the end. The guitar solo on Easy Money is similar, as are parts of the title tracks. Every track on this album is so well-crafted, and I just love the work by all the instrumentalists. If I had to pick a favorite track it might have to be Larks Tongues' Pt 2; it sums up everything that is great about this era of the band. King Crimson operated in a higher realm of musical possibility than most artists could even fathom. They paved a path into unknown dimensions, going where few musicans could ever dare. Robert Fripp is unequivocally the mad genius and occultist wizard of rock music. If any band could be said to deserve being revered in the style of a cult, it is King Crimson.
4.5
I'll be damned that was so goddamn good
Love King Crimson, easy 5!
If you love noises, this is an album for you. I've once again exposed my love for borderline unlistenable music, and this one is no exception. I loved the Dolmar at the beginning and then when they went back to it. There was only one song or I had to turn my headphones down, and I only had them turned up so much because I was listening while mowing the yard anyway.
Absolutely brilliant: seamless blend of rock, jazz, contemporary classical and more. Standouts were the opening track and “Easy Money.”
Very hypnotic soundscapes, I love it!
Excelente album, King Crimson abre una nueva etapa que marco la historia!
I love me my King Crimson. To be listened to on the best quality system available to you, while doing nothing but letting the album play out in it's own manner. Don't multitask. Don't fight it. Resistance is useless.
- Obwohl ich irgendwann mal versucht habe, mir ein bisschen King Crimson als Prog-Lektion und Bildungsauftrag reinzupfeifen, habe ich dieses Album bis auf den Song Book of Saturday noch nie gehört - AND BOY WHAT I MISSED - Wie geil kreativ und ungezähmt. Absolut gewöhnungsbedürftig und bei weitem nicht jede Idee ein Treffer aber da sind sooo geile Momente bei, allein schon beim Titel-Track (Pt. 1). - Ich hab das Gefühl, dass diese Band genau das Maß and avantgardistischen Input trifft, das ich super finde. - Je mehr ich von denen höre desto mehr werden King Crimson für mich Band-gewordene Zeitlosigkeit. -Werde das Album auf jeden Fall noch häufiger hören und hab mir ein paar Songs davon gespeichert. 4,5/5
Of the 3 King Crimson albums I've heard from the original run, this is definitely the most welcoming. Where Court feels cold and Red feels straight up evil, Larks feels warm and inviting. This is the first time I feel like King Crimson are making music because they want to make it and enjoy doing so. Court and Red feel ordered by God, and Discipline, as much as I love it, feels like it was asked for by an exec to an extent. Larks though? It was made by the humans of King Crimson. It still feels like a King Crimson album, and many elements of Court will show up, but it's framed more positively, and it benefits greatly. I really enjoyed this. I looked over it too often, since it stands next to such monoliths, but even in their shadows it shines.
Excellent
EPIC.
Powerful, extraordinary, cerebral, experimental, disturbing - but not fun. That said, I'm not a very fun person at all so I loved this knotty collection of twisted metal. Alright, the bit in 'Easy Money' that goes a little funk rock was kinda fun.
You just wouldnt get it
WOW. This is pretty much peak prog, and I was along for the ride. so engaging!! I don't know how it manages to be both massive, inventive, but also doesn't ever feel too indulgent. I feel like we've heard a lot of prog that gets this formula wrong... just because you can have a 13 minute song in six parts, doesn't mean you should, every time. This really does feel like a book-length album. Tons of scenes, development, and big surprises, and the guitar work! It's one of a kind. I think I liked this even more than In The Court Of The Crimson King? Very, very mature. 5/5
King Crimson — do I need to say more?
beautiful musical experience, альбом слушается как цельное произведение, запись очень чистая - "хрусталик"
Part 1 - So Original, so provocative, so progressive 😎👍 Book of Saturday - So so 😐 Exiles - Pure Brilliance. Loved it ⭐ Easy Money - Unreal. Brilliant musicianship. Love the beat ⭐ The Talking Drum - A bit too experimental, but nice touches Part II - Fantastic ⭐ This is definitely a 5 star album ⭐⭐⭐⭐⭐
Probably my favorite King Crimson album so far
King Crimson is one of my favorite bands of all time and in my opinion the best prog rock band ever. This album, like almost all of theirs, is simply incredible. A textbook example of what prog should be.
perfection, like the sound of drums, violin (violin?), guitars, bass, and the overall feel. this seems almost timeless, apart from a a few parts that betray that it's the seventies
Impressionante a capacidade criativa para elevar o progressivo ao um estado de envolvimento completo no ambiente da audição.
It was way better than I thought it was at the start just stick with it
These are some wild lads. Some really good bits in here. Only part I don't like is some of the intros/transitions drag on for a while. Will I listen to again: 100%
Part I of Larks' Tongues In Aspic is an epic album opener, and part II is an epic closer. I really dug the thick instrumentation of this album, and the violin lines are a unique touch that I felt added a lot. The only part of this that I didn't really enjoy was the vocal performance on Exiles - regardless, I could see this being my favorite King Crimson album once I've given the others their due, and I'll definitely be coming back to it. 9/10. Favorite Songs: Larks' Tongues In Aspic Part I, Easy Money, The Talking Drum, Larks' Tongues In Aspic Part II Least Favorite Song: Exiles
One of my favourites of all time. I bought this on the back of 'In the Court of the Crimson King' and was horrified. It's dark experimental mash of styles and sound. Over time I relistened and now love it dearly. This takes time and patience.
Fantastic! Creative blend of Rock Jazz and new Age.
Majestic af
I am a huge Crim-head and this is a great record. I will admit that some of these tunes become truly special when played live. The studio environment results in some odd non-musicality probably just because it's more possible to have that result in studio than it is to have playing live.
Very wah wah
There are more insane musical ideas in this album than you will find in the entire career of most progressive rock bands. Larks' Tongues is unique, creative and abrasive. Only King Crimson can manipulate and control the chaos like that!
Very experimental record, although that is what you sign up for when putting on a King Crimson album! The first one to feature world class drummer Bill Bruford on record, and what a great addition he is! The middle eastern, oriental influence is a welcome one too. And Robert Fripp is musicianship is just phenomenal! Standouts: Larks' Tongues In Aspic, Pt. 1, Book Of Saturday, Exiles, Easy Money, Larks' Tongues In Aspic, Pt. 2 9 out of 10
King Crimson is probably the greatest Prog Band ever and this album only helped to strengthen that status. Not only is this some of the most interesting Avant-Prog ever (Henry Cow pls take notes) but it still has a soul and doesn't feel like they try to be Avant-Garde for the sake of beeing it. Yes some passages do feel a bit stretched but honestly it doesn't make it worse. fav: Easy Money, Book of Saturday, Lark's Tongus in Aspic Pt. 1&2 least fav: Talking Drum Rating: strong 9
I expected this to be unusual and it certainly was. Progressive rock for sure. The journey was fascinating and I was delighted, entranced and excited at where we might be taken next on this epic musical journey. To my surprise when the bonus tracks started I let them play and they were a worthy addition to the listen. Really terrific album that I am very glad to have encountered. I had no idea that I was a progressive rock guy, but I’m starting to come to terms with it. I love the grandiosity and bombast of this album!
This album isn’t accessible, I get it. But, I love weird shit like this, so this was right up my alley. Listening to this with headphones was a great call. This album has amazing production, and had so many highlights and standout moments for me. The two-part title track was one I loved. It was noodling, but I thought it was fun. Loved this one a lot! Will see myself coming back to this.
That was a good Progressive Rock album that is timeless.
An epic art and prog rock opus. Peak kc.
Incredible Musicianship.
After a year’s break between studio releases and many personell changes, King Crimson re-emerged in 1973 with wholly new members and a wholly new sound (a common theme in most of the band’s history). Alongside guitarist, mellotronist and only constant member Robert Fripp are precussionist and drummer Bill Bruford, fresh out of Yes, bassist and vocalist John Wetton, violinist and keyboardist David Cross and Jamie Muir, credited as playing percussion and “allsorts”. Jamie Muir is perhaps the most important in defining the character of this specific iteration of the band: Alongside supremely disciplined and serious technical musicians is a fur-coated madman slamming sheets of metal, blowing a whistle in his mouth, rattling chains, then sitting behind a drum-kit to play along with the song, then getting up to continue plunking bottles and other assorted instruments and non-instruments. In The Court Of The Crimson King this is not, or any sound previously explored by the band. In place of dramatic epics and woodwinds are noise, screeching violins and pummeling heaviness. These two sides of the band’s sound are neither totally abandoned or new, of course, but in style and atmosphere the band is nearly unrecognisable. Worth mentioning also is the change from previous lyricist Peter Sinfield to Richard Palmer-James, replacing flowery, fantasy inspired texts with more contemporary topics, such as criminals and displeased lovers. Pertaining to this however is also the fact that over half of the album is instrumental. One such instrumental is “Lark’s Tongues In Aspic (Part 1)”, opening the album starkly with what sounds like a kalimba, playing a playful melody. Various sounds eventually drown out the melody, segueing into a tense continuous violin. The violin ascends, an evil guitar playing over it, drums build, and a considerably heavy full band section takes stage; overdriven guitars, overdriven bass, and indistinct feedback for good measure. This dynamic repeats and then leads into another stark moment: A rapid, sharply angular guitar figure, as meticulous as it seems spontaneous. Following this atonal precision is a funky jam, over which Fripp’s guitar figure is played over in clever contrast. A faster jam section is next, then leading into an extended section centering on solo violin. Previously I’d estimated this section taking up most of the second half of the piece, but timing it now it’s only around 3 minutes! Clever pacing or a meandering sidetrack? Your mileage may vary. After this section rounds out, we are reintroduced to the violin line from the beginning, only with guitars and violin trading roles. This builds up to the mysterious climax of the song, led by bass guitar, and capped of with the playing of a xylophone. Displaying their wide range, King Crimson follow up the longest, most difficult to grasp piece on the album with the shortest, most straightforward one: “Book Of Saturdays”. This album is not just irreverent chaos, with moments of simple beauty on this song and the final one of side A, the sunny “Exiles”. Singing violin, longing vocals and a wonderful guitar solo featuring Fripp’s inimitable suistanes tone closes of the first half of the album. Starting off side B is the bossy “Easy Money”. This is one of the songs where Jamie Muir is most present, among the discernable percussive sounds being the ripping of tape and what sounds like stomping in a pile of mud. The penultimate track, “The Talking Drum”, is essentially a 7 and a half minute build-up. Simple, yet effective. This build-up climaxes in some, quite honestly, painful screeching, which then satisfyingly leads into the closer, “Larks Tongues In Aspic (Part 2)”. An excellent, rocking instrumental, ending the album in a cathartic explosion of loud sound. Following the album, King Crimson continued following the pattern found in all of it’s history: Members left, their music shifted accordingly and the band moved on to make more fantastic music. Jamie Muir ended up being the first to leave, seemingly because he didn’t care for the hassle, leaving this incarnation of the band one-off and this album remaining the most progressive prog album for 30 years.
Listened Before? Yes Album Art: 4 / 5 (love the simplicity and cleanliness) So I've definitely listened to this before, but don't remember anything in specific. As far as KC goes, Court and Red are the two that stand out from their expansive catalog. Decided to go headphones on after 2 solid minutes of triangle and plunky bell sounds. Wow this song is like super proggy post-rock -- in particular the last 2-3 minutes. Expansive song that has both atmospheric and more driven sections. Book of Saturday abandons the sprawling format for a 3 minute prog-rock song. Crisp production putting the guitar / bass front and center with reversing effects and string accompaniment. Easy Money has one of the coolest goddamned jams followed by one of the wildest lyrical re-entries I have heard in recent memory. Feels of a similar ilk to Animals by Pink Floyd and I love it. A direct line can easily be drawn between Larks pt II and some songs that UM have put on record. Deeply unsettling prog in the best possible way. I'm all about this; confused why I haven't given this album as much time of day as the rest of KC's catalog. While it is no In the Court or Red, this is still an amazing entry into the prog cannon. Love the fusion elements present in pt II of the title track that remind of Mahavisnu Orchestra (namely the inclusion of violin / viola). 5 / 5. Added to Library? Yes Songs Added to Playlists: - Book of Saturday (Rainy / Tired)
Excited to listen to this after the last King Crimson album. I had a long one typed out but it got deleted somehow ugh. Key points - love the weirdness of this album. At points reminds me of Floyd which makes sense with the progginess. The bass slaps. Violin was a great addition over some of this freeform stuff. Larks' Tongues pt. 1 was a serious rollercoaster. Rips, then is spooky, then is beautiful. Easy Money is also a solid number. I really really need to listen to more King Crimson.
It doesn't keep a beat, you can't dance to it, it definitely doesn't gel together in any traditional sense. My ears love it though. Made in the 70s too? Feels like this was decades ahead. Some of these songs sound like they could be the first progenitors of entire genres like math rock. Easy 5.
wasn't sure I really got it, so listened twice then another time; kind of snuck up that I was super enjoying it. Strange but liked it, a genuinely different album that deserves on this list.
amazing!
It took me three listens, but I loved it. King Crimson walked so Radiohead could run
It's bonkers. I think it's really good. Can certainly get easily lost on you, though. Favorite Tracks: 3 minutes into pt 1, The Talking Drum 4.5/5
Another obvious choice of a prog-rock album for the list. Beautiful.
Not quite as iconic, but a bit more soundscapey than In the Court of the Crimson King. I still think it was at a solid 5.
Honestly, don’t know how I haven’t listened to this band before. Incredible. Can’t wait to explore more.
I totally dig prog rock and this is totally my jam. Larks' Tongue In Aspic (Parts 1 and 2) and Book Of Saturday are the standouts for me. Also love the bonus tracks.
This is wonderfully 'nanas! 🍌 Don't think I've really checked this King Crimson album out before, so thanks 1001 project! Fave track - I love the contrast of 13 minutes of silliness in "Larks' Tongues In Aspic (part 1)" suddenly breaking out into beautiful conventional "Book of Saturday". It's like emerging from a tunnel, or the sun coming out from behind clouds - lovely feeling!
What it sounds like inside my head
King Crimson is one of my favorite bands. Top 3. Easy Money is one of my favorite songs. Bill Bruford is one of the most brilliant drummers ever, and Robert Fripp is a strange little genius. Lark's Tongue in Aspic Part II is insane live.
It is a masterpiece of rock music - not just prog rock - and one of the best albums of this band. I could write endless paragraphs about it. The strongest suit might be the highly versatile jump between complex and challenging parts as well as the the melodies and atmosphere. 'Books of Exile' is reminiscent of the more 'romantic' KC while something like 'Easy Money' shows how banging and jamming goes. Absolutely gorgeous!
this was definitely as good as a larks tongue in a spack.
Un des meilleurs albummde prog dans ce genre. Mon prefere de king crimson. 5
For me this is one of the best progrock albums ever.
Wibbley dibbley prog.
looooved this. reminds me a lot of pink floyd but even more innovative production-wise. (if i'd heard both at this point in my life i'd probably prefer this music, but unfortunately i heard pink floyd when i was 16 and it rewired my brain.) The effects at the end of "Book of Saturday" feel really contemporary. I don't know how to describe what they are, I'm guessing manipulated guitar. also a lot of the violin interludes sounded really klezmer/fiddler on the roof-ish to me which i also really loved. Fav tracks: Book of Saturday
ese rock progresivo vien rico, c escucha ne el auto
Couple reactions to getting this album. First is I've never really listened to King Crimson before, so I'm genuinely curious what everyone's going on about. But second was a slight "Ugh" because I really don't want to deal with another dated, noodly prog rock album from the 70s. Well, good for me then that this album is coming off more like avant garde rock in the style of a Kayo Dot or maudlin of the Well to me than a masturbatory prog extravaganza. And at a svelt 46 minutes, even better. There's a little bit of noodling on this album, particularly on the opening and closing instrumentals, but mostly it feels like it serves a purpose beyond just "Look how good I am at the guitar". I am enjoying the first half of the album more than the second half though. Book of Saturdays and Exiles are great. Although The Talking Drum is feeling kinda microtonal a little bit in the same way that an Angine de Poitrine does. Overall, not really what I was expecting, but do enjoy the record.
For me, King Crimson sits at the acceptable end of prog rock. I think this album would repay repeat plays. But above all, this seems a bit cerebral and complex with a too little emotion.
God I'm a sucker for prog rock. I especially love the prominence of Jamie Muir’s percussion. It introduces so many beautiful textures and it's mastered wonderfully. (Btw, he was a phenomenal painter and artist following his short lived musical and monastic periods, worth checking out!) But overall this is a seriously impressive album. I'm not super familiar with King Crimson; this made me want to explore their discography further. 4
Sort of grown up Pink Floyd
The fact that I am not listening to this at a planetarium while a laser light show plays above my head is beyond criminal.
That absolutely rocked. Once the guitar lick came in on the first song I was locked in. Tempted to give a 5 but I'll stick with a 4. Never really listened to King Crimson but I will definitely be listening to more now.
This album is a more instrumental version of a typical Pink Floyd album. I must say, King Crimson is growing on me, and even though I've always liked Progressive Rock, I'm starting to put this band in Pink Floyd territory. This album has everything you can possibly want on an album; King Crimson lets you be who you wanna be. My only complaint is I wish it had a bit more storytelling, and lyrics to go with the non-instrumental tracks Favorite Track: "Exiles".
I’m tired
I was looking forward to this one when I saw it. In the Courts of the Crimson King is a great album, and this one was pretty solid too!
This album was pretty damn cool!
I'm getting carried away by this album. There are plenty beautiful passages and many experimental, expressive ideas, but the sound didn't capture me as much as most of the other King Crimson albums do. I still value their instrumental finesse, but it's not a progressive breakout hit album for me.
This is my territory. Prog meets psychedelia meets jazz meets sheer weight — King Crimson doing all of it at once and making it hold together. The way "Easy Money" uses the vocals as pure texture, scatting as another instrument rather than words carrying meaning. The way the heavy parts land harder because of the space around them. Larks' Tongues in Aspic is genuinely impressive. Not "I need to own this on vinyl immediately" impressive — more "I need to sit with this properly" impressive. There's more here than one listen reveals. 4/5 — strong, and worth returning to.
Premier art/progressive rock band!!
its a very spontaneous body of work . it opens up so much to variety , so many use of sounds and instruments . its calm and chill , the kind of music you listen to on a productive rest day and impacts your whole mood for the day . its very creative and regulating . it has so much potential to be in adult cartoon series , a very imaginative one . definitely a staple . 5/5
Very very good 1st song goated
Very interesting.
Where In the Court of the Crimson King is an ethereal record that sounds like a myth being told to you, this record sounds like three goblins standing around a couldron throwing in random sheit to create a potion that will either destroy them or make them invulnerable. I don't know what I just listened to, but I mostly like it?
One of the first albums I bought. 15 yrs old at Cheapies (RIP) for 9.99. Almost in unlistenable quality. Still loved that opening riff but didn’t return much to it. I think I just wasn’t ready for it. Still gotta be one of the heaviest and dirtiest riffs I have ever heard til this day. Haven’t heard something as sinister as Part 1 in recent memory. Exiles, Easy Money, Talking Drum are some excellent grooves. Fripp is a legend. I’ll keep coming back to this.
Loved how they can build tension in such unique ways.
Great prog record.
I understand where Agine de Poitrine get their influence. This is a highly technical album, full of masterful playing. But that doesn’t mean it’s not a difficult listen. Definitely how background music!
The best of King Crimson is honestly some of the best of prog. And while I wouldn't say that Larks' Tongues is the best of King Crimson, it is pretty close. The intricacy on display here results in some very enjoyable songs, and Larks' Tongues rarely gives into the annoying things about prog. And there's ultimately a good balance between prog's more formless tendencies and some rock solid writing. The title track almost moves like free jazz, but you also have the groove on Easy Money. And the result is an album that I think is honestly pretty accessible. Everything here is unique and masterfully assembled as well. There are a few moments where King Crimson give into prog's cheesier tendencies though. For example, the sound effects on Easy Money kind of take me out of it, although it is a great song. But the resultant album is very enjoyable regardless.
I'm surprised this King Crimson album made it on and not Red, but I digress. Pros: There's some good songs on here, and even a couple of moments that sound a bit like proto metal. Cons: the album doesn't feel totally cohesive, and like some other prog rock music, can get a little too 'noodly' for my tastes at moments. Overall, its a good, if imperfect album.
Nooit veel King Crimson geluisterd, buiten funny screaming man om, maar dit is cool
Hele coole plaat. Interessante instrumenten, spannende passages... Niet zo exciting als schreeuwende man, maar dat is ook wel uitzonderlijk tof.
Not my favourite KC album, but there are delights to enjoy. I'm surprised Red isn't on the list from this era of their history..
There's nothing on here that's as good as 21st Century Schizoid Man, but I enjoyed it.
It has been a dire couple weeks for this project. Nothing above a “well, it’s okay” gentleman’s three, and A LOT of ones and twos. Nothing was hitting. Thank god for King Crimson! This came on and instantly I was like “GOOD MUSIC?!? IT’S BEEN SO LONG!” It’s fun and weird and rocking, a bit medieval. Mostly instrumentals but GOOD instrumentals. Not overlong, I was just on its wavelength.
This is such a weird album. I love prog and even I am a little baffled by it. I do love it though, it sends me on a trip every time (I bought the CD at random a few years ago). Once again I have to withhold a 5-star rating from King Crimson though, cuz I just don’t find myself hankering to listen to this one much. Is Red on this list? Red is the true 5-star King Crimson album. Anyway, this is great, probably wouldn’t go on my list though.
I like KC, but this record eludes me. I gave it two listens, but I just don't think I'm feeling it yet. Some elements grabbed me (such as the violin in Part II of the title track), but I think this one might truly be too weird for me. I Still appreciate the work they put into it though.
There were parts that were so good, but it was so incongruous in other parts.
So having listened to not a lot of prog rock and only one (1) King Crimson song, I gotta ask: is prog actually as inaccessible as everyone says it is? I don't find what I've heard to be overly virtuosic or obtuse in writing or arranging, and this album is no different. With this one specifically what I'm getting for most of it is some oddly modern sounding choices as far as individual performances and song structure go. The chord changes in some of these are so left field from what I expect of a 1973 rock album. Mellotron and strings on a lot of the tracks add a full sound that compliment and add to that modern feeling. I guess you could say it sounds. Progressive. *knowing wink right before having my jaw broken in seven places, 18-week recovery time, food through a straw* that said, there are some random weird noises and odd decisions for instrumentation here and there (xylo?) but they don't intrude as much as you'd think. Even the Larks' Tongues compositions here weren't a drag. I expected more of a Grateful Dead, Phish-esque meandering jam for 20 minutes, but they were more like a Romantic period almost Stravinsky thing focusing a lot more on rhythm and ostinatos. Like full on compositions as opposed to bullshitting while we're all high. I kinda liked the whole thing. Only song that didn't immediately land was Talking Drum. But, I dunno if I immediately associate unusual musical choices or long solos with being pretentious or self-important, those are just generally sort of different and occasional aspects of some music. 4 for me
Will definitely need many repeated listens to get the head around this. On the whole I like it though.
this one has a perfect amount of weirdness init
ah good times
I did enjoy this, especially when driving. The good bits are really good, and there are some long proggy bits that make me think of when you're sat chilling waiting for a later act at a festival. I wish I was on a longer drive to get the full experience in one go. Floyd vibes at times.
Música de drogado é bom demais
I love that I feel I need to listen to this about 30 more times to fully appreciate it. Maybe I’ll bump it to 5 stars one day.
Fun wankiness
278/1089 13 minute instrumental (soft?) rock opening track?! okayyy i like that, it was very classic movie vibes. and then into some melancholic vibes with Book Of Saturday, i’m liking the choices made here Exiles is really nice musically but i’m not loving the vocals here so much. Easy Money is def my least fave so far, not loving the pratical effects eg the paper ripping and generally it sounds a bit more like other generic rock of the era. it redeemed itself in the second half where it was more instrumental and prog-y ooh i’m liking The Talking Drum, it’s giving video game soundtrack to me, specifically something like Plague’s Tale or Prince of Persia Warrior Within. the final squealing was a bit much but in a way it worked for me faves: The Talking Drum, Lark’s Tongues p1, Book of Saturday 74/100
Better than Coldplay
my penis fell off like 4 times 4.5/5
split between fantastic and a little boring
Boa banda sonora, fez o dia parecer uma cena com tensão e adrelina de uma série de culto
4 pode ser um pouquinho alto, mas justifica para não estar misturado com os 3 todos, é mais interessante que isso. Acho que vai ser daqueles que vou ouvir mais vezes depois disto
King Crimson! Listened to while walking along the quais de Seine (côté Hôtel de Ville). Great vibes, ended at the end of Ile Saint Louis. Book of Saturday and Exiles were highlights.
I really don’t know what to make of this one. Which they would probably appreciate. I kind of hate it yet also like it. The percussion and violin are particularly appealing. There are lots of good moments here, it reminds of something classical and ot should be an incohesive mishmash but somehow it all comes together. Not sure I will ever listen again though
prog é muito bom mesmo.
Franchement album incroyable. Vraiment, plus ça avance plus j'aime King Crimson, et là j'ai trouvé l'album vraiment excellent. Le tout était bien plus agressif que "In the Court Of the Crimson King" avec des guitares électriques plus compressés rappelant "21st century Schizoid man", mais beaucoup plus présente sur l'entièreté de l'album comme sur "Lark's Tongue in Aspic part I" qui vient contrasté du violon plus lent et méditatif. En résumé, je trouve que l'album alterne de manière très intelligente les parties très calmes avec des explosions très marqués, ce qui est très agréable.
4.0
A lot of musical rambling and nothingness except within that rambling nothingness, it sounds mystifying, compelling, and well-produced, at the least There are dull moments but enough of the album feels like an adventure, and for being from 1973 it's pretty good at stupefying time itself
Un descubrimiento. Me encantó! Lo volvería a escuchar sin dudas
Good
I honestly think prog as a whole is pretentious but I liked this more than I thought I would
This was excellent. Feel like you have to listen to it with headphones. It was like a really bad trip but in a good way.
I'm astonished to find myself appreciating anything that can be classed as prog rock. It's one of my least favourite genres. However, my favourite tracks on this album are the instrumental tracks and the tracks that are gentle and highly creative. The range of percussion sounds work really well with the string instruments. Heavy guitar sounds much less good but perhaps I have to forgive the moments their sound is 70s prog rock cliché because this is after all a 1970s album.
Grew on me as it went. The first track was so avant guard art rock that I was preparing my ears for a Can record. Then the prog rock kicked in. Some of the instrumentation choices were so bizarre that I couldn’t tell if they were taking the piss or were deathly serious. I immediately went to listen to other King Crimson records. Leaning toward “deathly serious” but I think I’m a fan?
4 out of 5. Solid arrangements here.
I need to give this more time...
Starts out great and then becomes a bit too Prog Rock for me. I loved the other King Crimson album on the list though, so I had high hopes for this one. Good, but not great. Still a solid 3.5.
Still fresh
High 4 stars. Really enjoyed this, right up my alley. Surprised by the low rating but guess a lot of people just don’t like prog and that’s fair enough
Interesting enough to scrap in at a four, but only just, on the expanded version the outtakes are arguably more interesting then the main tracks, honestly this one should be rights really be a three, it's too much 'prog wank' for my liking
As someone whose gateway into Progressive Rock was through the structured virtuosity of Rush, my collection has slowly expanded to include the essentials. However, until now, my exposure to the "High Priests" of the genre, King Crimson, was strictly limited to their 1969 debut. Stepping into their 1973 opus, "Larks' Tongues in Aspic", proved to be an entirely different beast altogether. The experience began with a moment of genuine confusion. The opening of "Larks' Tongues in Aspic, Part One" was so quiet and high-pitched that I initially mistook it for my own tinnitus! Once the instrumentation built and the soundscape clarified, I actually had to restart the track to appreciate the transition. When it finally explodes into life, the power is undeniable. While critics often label this "Proto-Prog Metal," to my ears, it leans much closer to an aggressive Jazz Fusion. I particularly admired the dynamics: the tension of the intro leading into a sonic blast, followed by a pleasant, inquisitive violin passage before the grand finale. "Book of Saturday" serves as a brief, melodic interlude between the heavier "Progginess." It is a slight but necessary breather that highlights the fact that John Wetton possessed a truly lovely, soulful voice. The side closes with "Exiles," a track that feels far more plaintive and melodic than the opener, grounding the experimentalism in something more emotive. The second half opens with "Easy Money," which feels a touch more conventional within the Prog framework, yet remains distinct from what preceded it. However, the real highlight for me was "The Talking Drum." It features a long, incredibly cool introduction that morphs into a frantic violin and guitar duet. The way it gradually gathers pace before coming to a literal screeching halt is brilliant; it was easily my favourite moment on the record. The album concludes with "Larks' Tongues in Aspic, Part Two," a track that feels significantly more abrupt and calculated than its counterpart on Side One - full of rhythmic precision. The production on this album is nothing short of excellent, especially considering it was recorded in 1973. The separation and clarity of the bass and percussion are startlingly modern. Interestingly, with three of the six tracks being instrumentals, I found myself gravitating towards those the most. This is very much a "listening" album. It isn't an immediate "essential" in the sense of instant catchiness, and I’m not sure it will ever be a record I reach for on a daily basis. However, it is a grower. I suspect that with repeated listens, my appreciation for its complexity will only deepen. For now, it is a fascinating, high-quality exploration of the genre's outer limits. It won't be for everyone but it gets four stars from me. Side A 1- "Larks' Tongues in Aspic, Part One" (Instrumental) - (4/5) 2- "Book of Saturday" - (3/5) 3- "Exiles" -(4/5) Side B 1- "Easy Money" - (4/5) 2- "The Talking Drum" (Instrumental) - (5/5) 3- "Larks' Tongues in Aspic, Part Two" (Instrumental) - (4/5) Total - 24 Average - 4.00 260/1001 141/260 albums reviewed were new to me
I feel I should have known more about Robert Fripp before now. He's been quite a big part of the music I've loved over the years. He provided the iconic drone guitar of Bowie's "Heroes", was a key figure on Talking Heads' "Fear of Music", and collaborated with Brian Eno on multiple albums. He's been all over the music I loved without me realising it. I was aware of King Crimson, but had never properly sat down with their music. There's just too much to get through. That's what I love about this project. Today I sat down with my first King Crimson album and I absolutely loved everything about it. Most of the pieces on this record feel more like movements from classical works than songs. The opening and closing tracks, two parts of a suite that apparently spans four albums over thirty years, are by far the best pieces on this album, and possibly the best new music I've heard in a hell of a long time. Everything here is incredibly brave and full of absolute self-belief. The album opens with three full minutes of just windchimes. There are moments of low volume and almost silence that jump to jolting moments of heavy guitar. Expectations around structure or melody should go out the window. It's intense, chaotic and wild. But through all of the madness, it's really easy to listen to. For an album I've never listened to before, I've made up for lost time, and had it on repeat. It's a phenomenal work that reveals more and more of itself, with every listen. It's not background music, it's something you sit down and pay attention to. 176 days into this project, and it's discoveries like this that really make this all worthwhile. 4.5 stars for now, but in time I could revisit and bump it up to 5 even.
It's always good to go into listening to a King Crimson album with zero expectations, because this is a band that always keeps you on their toes with relentless experimentation and incredibly dense musicianship. 'Larks' Tongues in Aspic' has it all; tribal glockenspiels blending into a full-blown proto-metal riff assault, a cacophony of percussion attacking the eardrums from every direction, Eastern-influenced strings arrangement....and that's just the first track! This record bounces off in so many directions that calling it an unbelievable work of art and an unfocused mess are both correct answers, depending on the point of view. I'm of the former. There's something so richly cinematic about 'Larks' Tongues In Aspic' that I can't help but appreciate the clear vision, creativity and care that went into making this record. Robert Fripp lays down some of the most inventive guitar riffs I've ever heard. He tries so many different styles on this record: metal, jazz, dream pop, psychedelic: and they all work. His vision for the guitar's role in music certainly deepens the possibilities for the instrument, and some of the techniques he utilised here are mindblowing. Then you have the brilliance of Bill Bruford on drums. He's one of the most revered drummers of all time for good reason, and he manages to weave around stark changes to time signatures and moods like he's always attuned to what's to follow, even with King Crimson's heavily experimental nature. The other clear MVP on this album is David Cross (the musician, not the comedian), who adds some beautiful violin and viola flourishes across the album, and his flute playing on 'Exiles' takes you away to a comfortable landscape brimming with serenity. While it's a mostly instrumental record, there are some vocal parts from bassist John Wetton, but honestly, the compositions are interesting enough themselves that the vocals seem kind of unnecessary. Wetton's not a bad vocalist, but where King Crimson really lift off is in their instrumental moments. They're no Pink Floyd in the lyrics department, but certainly more than a match for them musically. While 'In the Court of the Crimson King' is a more accessible record, 'Larks' Tongues in Aspic' is a record for the true music nerds. I know not everyone has the patience for prog, and that's completely cool, but this record demands your full attention to truly appreciate it. It gets better with every listen, not unlike rewatching Blade Runner or Donnie Darko where you pick up new information every rewatch! Best songs: Larks' Tongues In Aspic (Part One), Exiles, Easy Money, The Talking Drum, Larks' Tongues In Aspic (Part Two)
Surprisingly I really enjoyed this album. Among all the chaos there’s some wonderful moments especially when the violin kick in.
That was very weird. I like prog, but I still think this is a bit out there. I was really not liking the title track (Part I), but the album got better as I got deeper into it. I'm listening to Part I again, and it's a bit better, but still sounds too much like each instrument is playing a different song. I imagine a few listens will either make me like it more or hate it. I'd say the album is probably around a 3.5-4 for me at the moment.
Psych rock siempre es bienvenido Al parecer son de renombre y honestamente el álbum merece reescucharse Se concentraron en lo instrumental lo cual considero prudente para un álbum que se siente denso a pesar del poco tiempo que dura Valioso descubrimiento
-interesting album with a large focus on the instrumental. It has many interesting and unique musical ideas, such as playing certain sections in reverse. -the singing is unique, yet pleasant to listen to. -This is the first king crimson i have heard, and i see why people like it, I feel this is an album i’ll appreciate more on revisits.
Some really nice prog rock. Good stuff!
gewoon lekkere plaat! ben meestal niet van de héél lange nummers maar hier werkt t goed
Good! Interesting
I like the parts where they are Shredding
I think Red is a much better, more fully realised and focused album. There are plenty of great parts to this with some incredible sounds and bits of improvisation. However, I feel like Jamie Muir's talents could be better integrated. The extremes of loud/quiet aren't a bad idea (see Mogwai) but it feels a bit like Fripp wasn't keen on Muir's solo sections amd designated them to the extreme quiet parts. David Cross's string parts are really good in themselves but there are a few places where it feels like he and Fripp are vying for the same melodic ground and place in the mix.
Very cool stuff. Gets better as the album goes on
As far as prog rock goes, this seems like some of the best work there is sonically - but I think it's missing the lyrical element that I want so it'll have to stay at 4 for now, but I may very well change my mind and give it a full five later.
I really enjoyed this album, more than I thought I was going to. It is proggy in a way that really resonated with me. I love the writing and arrangements (that violin!!)
Ah tää paranee vuosi vuodelta. Sopivan ”kevyttä” progea. Hyvä kokonaisuus 4/5
Pätevä, joskin hieman ahdistava progelevy. Pitää varmaan kuunnella tulevaisuudessa enemmän, että aukeaa kunnolla.
So far, this is one of my favorite King Crimson albums. Unlike some of their earlier work, this one doesn’t lean heavily on keyboards. Instead, it takes a more free form jazz direction with an experimental, avant-garde twist. The heavier guitar riffs scattered throughout the album also stand out, bringing in a touch of early metal influences.
King Crimson is the best of experimental music. 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. This version of King Crimson might be the most talented with John Wetton, Bill Bruford and Jamie Muir in the lineup. 4.5⭐️
At least with me I have to be in the mood for Prog Rock and if you are this album is great.
I’m a big prog rock fanboy so King Crimson albums always appeal to me. Their first album ITCOTCK is rightly proclaimed to be one of the greatest prog albums of all time and certainly got me into the prog genre. However after their first three albums for my tastes they did go a bit weird. I like a my music to have good Melodie’s and to somewhere. There are some lovely melodic phases but just as you settle into these the music suddenly juxtaposes into something less palatable. It is therefore a challenge and you must listen closely if you want to get something out of this album. Which is something I’m sure Robert Fripp wants us to do in order to really appreciate his art. Great for people like me but an instant turn off to most and probably why prog is scorned. So whilst a lot of my fellow proggers hold this album in high esteem, In truth I find this album hard going. But I will not fault it for that and because it is a prog landmark album I will remain true to my values and score it accordingly. 4/5 5/1/26
I had to look up what aspic was. It’s like a jello mold made of meat lard. That’s a pretty gross image. Some sick nasty guitar in this, though. Long live the Crimson King!
This is fire why do 1001 users hate prog rock so. RYM: Y (#183) Saved a song: N
Had some cool twists and turns which I liked. Tbf, I think this could go grow on me and I don't think it was the best album to listen to whilst hungover so I will give it some benefit of the doubt.
The fact that three of the six original tracks on Larks' Tongues In Aspic (a savory title!) are instrumentals shows a degree of growth on the part of the OG progressive band: prog is a foul and soulless genre primarily due to its lyrical failings. These instrumentals are especially poignant b/c Bill Bruford and Jamie Muir are excellent percussionists, adding far more than detail to this already intricate record. I'd be false, however, if I said I despised what this album has to offer lyrically: the other three tracks were well worth my time. 'She responds like a limousine / Brought alive on the silver screen / To the shuddering breath of yesterday.' In short, way better than the debut - and tho it's still pretentious, I take to it like I take to Wish You Were Here.
I like how this gets gradually darker and more sinister and “rock” the longer it goes. Like a reptile shedding its skin.
One of King Crimson's more difficult and experimental releases. Being mostly instrumental would already pose a challange to a big amount of listeners, but the band also throw in abrasive (for the time) guitar effects and unusual song structures. Not an easy album to get into but a rewarding one to explore on a deeper level and just marvel at the musicianship involved. Key tracks: Easy Money Larks' Tongues in Aspic Part Two
4/5 A-
Does rock and roll need more fiddle? I’m already firmly in the pro-saxophone camp, and I’m leaning toward yes after hearing this album, where David Cross’ violin plays a starring role, adding texture, tension and melody. This is definitely above-average prog rock. Robert Fripp is a very good guitarist, but rather than simply devote an album to wanking around and proving it, he traffics in actual ideas — backwards guitar solos, noise, repetition, ambient sounds, diabolical laughter, and so on — that I have heard echoed later in other genres. It reminds me a little of Hot Rats-era Frank Zappa (though without the humor) and also sounds at times like a film soundtrack. It does meander at times, and it’s not the type of thing I’ll listen to often, but I acknowledge it as innovative.
I was prepared to hate this because it's prog rock. I expected indulgent noodling a la the worst Rick Wakeman (Yes) or Keith Emerson (ELP) keyboard solos. Yes, its overworked, but there's precision and discipline to the songs. Kinda like Frank zappa; you can just hear the rehearsals embedded in the recording. I appreciated its complexity and was pleasantly surprised by this. I won't listen to it often again, but like a 3 hour foreign film you're glad to be done with, it did stay with me hours later.
They found some grooves here. The jams were on point. This could be a modern album if they didn’t sing (the British lilting gives them away). Good stuff!
Cuando lo escuché hace 50 años sólo me gustaban dos canciones (las cantadas). A los 60 años los vi en directo y desde entonces he vuelto a escucharles con agrado hasta 1985. Hoy este disco es genial (antes con el tocadiscos de los 70 el sonido se perdía demasiado (a veces solo se oia la aguja).
It’s hard to believe this is the same band that made “In The Court of the Crimson King.” This is the proggiest of prog, with exceptional musicianship delivering challenging multi-part compositions. I’m looking forward to exploring more of this iteration of Crimson.
Easy Money, you should listen to this album.
Aww... my no-repeat-artist streak ended. I managed to go 19 days without an album from a band or artist I've gotten albums from in the past, which is the most I've gotten in a LOONG time, and it's over now. Oh well. I can't be too upset considering that the band to end that streak is a band as great as King Crimson! King Crimson is so cool. They're honestly unlike any other band that I can think of in terms of history and stylistic change-ups. This is their 1973 album Larks' Tongues In Aspic. This is a pretty interesting choice for the obligatory "King Crimson album that isn't In The Court Of The Crimson King" pick of the list. From what I've gathered, it seems to be considered among the band's best albums, but not quite at the tippy top. Of course, I haven't heard every King Crimson album, but that seems about right. This one's great, but not my favorite of theirs. Obviously, In The Court is better, but I've also listened to their album Red and prefer it over this as well. But this review isn't about those albums! I have to talk about Larks' Tongues! The lineup here is almost completely different from the ITCOTCK lineup, with the only overlapping member being Mr. King Crimson himself, Robert Fripp. You can definitely tell, but I think that's a big part of what makes King Crimson so interesting as a band. As far as what makes an album like this stand out, LTIA is the first King Crimson album to incorporate metal influences! Hell yeah! That's awesome. Imagine being a King Crimson fan and having no idea that this would happen. Like, you start listening to the album and it's all ambient and stuff, and then 3 minutes into the opening track that heavy-ass guitar riff starts and you're shitting your pants. Crazy stuff. The rest of the album has a solid balance between these heavier elements and the lighter stuff, with "Exiles" being almost ballad-esque in a way, and "Easy Money" having this pretty cool groove to it. It's a very interesting album in that regard. The writing is also neat. Robert Fripp's guitar work is stellar, and I also think that the other members here do a great job, with Bill Bruford's drumming being a highlight. However, I can't say that I enjoyed this as much as the other King Crimson albums I've heard. I think it's because it doesn't quite reach the highs of the others. Like, this album has good songs, obviously. For me though, I can't say that any of them reach the highs of a song like "21st Century Schizoid Man" from ITCOTCK or "Starless" from Red. I can't really see myself revisiting this as much as those other albums. But like, this is still King Crimson we're talking about. I still love this album. It's got so many cool ideas at play and it appeals to the part of me that love prog-rock as much as it does. Besides, maybe this'll actually grow on me more over time and become a favorite of mine. Only time will tell. For now, I'll give it a high 4/5.
Not for me!
I like this more in theory than in practice. I like the elements that it’s blending, but it don’t think it’s in the right proportions.
I'm a big KC fan, this is still one of their odder albums. People love it though, who am I to judge?
It’s very King Crimson. Which means if you like them, or have any inclination towards prog rock or post rock then it’s essential listening. If not, it might be worth a try but I don’t think it will convert those who aren’t into this style of music. Still, I’d encourage them to try.
King Crimson are an iconic band but have never listened to them , I loved the blend of prog rock and psychedelic undertones , very experimental for the time , haunting vocals and so well put together , very surprised at how much I enjoyed the album as a hole , even if at times it did lose some mommentum
a legendary album for a reason. Starts out heavy and becomes melodic.
Good prog bb
This is an album I've got in my library, but that I don't listen to very frequently. I enjoy King Crimson, and freely admit that they definitely fall into the "acquired taste" category. This may not be my favorite album by them, but it's by no means a bad album of theirs... if you like King Crimson. There's a bunch of neat things going on in this collections of songs. But I suspect that the ratings on this site will range from "this is nearly unlistenable" (from those who don't like the band) to "this is really neat" (from those who do like the band). And there will likely be almost no overlap in that Venn diagram.
very mystical
not into a lot of the prog parts but enjoyable at times
Класний альбом у дискографії крімзон, приблизно з нього починається мій улюблений їхній період (далі були старлес та ред). Шикарне поєднання прог-року та чогось більш імпровізаційно-авангардного (місцями мені тут згадується Райх, місцями Белла Барток). Також присутній хіт Easy Money. Сильний матеріал від одного з найкращих гуртів евер.
"we live in society" *гітарна партія на 12 хвилин* клас
Atmospheric but at times dull. Uses music to build their wonderful world. At times they can be funky. Easy Money is easily the most accessible song on here. I have only really dipped my toes in progressive rock but this is indeed PROG. I listen to this & I hear how King Crimson helped shape Prog. This album demands an emerisive listen, so that you can hear all that they put out. These guys most be the Grand Pappys of Prog. Right?
84/100. This is great. Action-packed and filled with musical greatness. The creativity on display is truly impressive, experimental, technical, and unpredictable in the best way.
God the sound on here is an audiophile's wet dream. That cello, oh my!
Music really good. Not totally my thing, but just can’t ignore its good.
King Crimson moves away from the prog rock and becomes more free form jazz and experimental. It's certainly odd at times and trying to find a hook or melody becomes a bit of challenge. However, when it hits it really hits - you just have to go wading through the mists to find what you want. Best Tracks: Larks' Tongues In Aspic (Part 1); Exiles; Easy Money
Okay, the spice did get recognized to me on the second listen. However I wouldn't ever really listen to this outside of this challenge... I'll still give it a 4, though.
I feel like you can’t go wrong with king crimson
It’s 1973 and King Crimson shouts, “We also did an elaborately produced prog rock song themed around money!”
intense
Unique. I like it.
This felt truly cinematic! 100% supported by me taking a walk while listening to this but man this is beautiful, felt like they actually gave a sound to the essence of the world. It's oddly huge yet not overstating itself and just flows together wondefully. It starts slow but when it gets going, it gets going! "The Talking Drum" is one of the first lyricless songs that fully connected with me but even the few other tracks that rely on instrumentation alone are great. Really fun listen that I liked way more than I expected.
The word that I kept thinking about while listening to this album was "dynamic". The word has two very different meanings. People often use the word to describe things are that big, positive and energic. But the original meaning is something marked constant change. Listen to a pop song and then a piece of classical music and you'll see the difference. The former is engineered to be fun, so the volume, rhythm, etc are all fairly constant. The classical piece is more "dynamic" in the original sense of the word. It will be quiet as a mouse for one movement and loud as a lion the next. One is being better than the other, they're just different things. The pop song is made for you to dance and sing and go about your day. The dynamic music forces you to pay attention. That's exactly what's happening with "Larks' Tonges in Aspic". It's not simply prog rock (which will already divide casual music lovers), but it's total change in direction and heavily influence by Eastern European modernist classical music. And it works, but like most classical recordings, it just doesn't work as background music. You need a good pair of headphones, or at least an undistrubed space, to really appreciate it. In an ideal world, you also avoid all other distractions like smart phones and just listen (though who has the discipline any more?). Your listening experience is make or break for this album. I put in the effort to try and I really enjoyed it. I can't say it's the best prog rock album I've heard, but it's definitely interesting.
This album was good
v good, but i’ve never heard another one of theirs that matches “in the court.”
This band is an enigma. I think ultimately I’m a fan. It’s almost like they are too good. Like is this AI?
king crimson are the masters of weird and surprising while remaining approachable. this is borderline easy listening for me while still being pretty out there with its instrumentation and tempo changes. I don’t think one day is adequate time to fully know this record but I’m excited to get closer to it. high 4
Hey man, how's that fugue state going? Blink twice if you're good. No, not syncopated, just, like, normal blinks. Ok, cool. You're back. Sorry, there's some noodly shit going on in the middle. Yeah it keeps going, every song is like seven fucking minutes. I know, but it'll grow on you. Oh, oh, you're doing the thing where you're blinking really fast again, I'll let you go.
I'm not really much of a prog guy, but this album is pretty good. I really like some of the quieter parts. High 4.
bit weird very enjoyable. listened to part of this while staring out the train window at a rainbow so that felt very poetic
thoughts: that’s prog rock for ya! honestly i didn’t come into this expecting to like it, but i really enjoyed it. great use of contrasts, building tracks slowly from soft to loud and back again songs: “larks’ tongues in aspic (part I)”, “book of saturday”, “the talking drum” rating: 7.7/10
i listened to this like a year ago nice guitar too bad they dont use it enough -saba
Lots of instrumental that later albums borrowed.
Nice prog rock
Fuck man I didn't want to like this but it was actually pretty descent. Prog rock is so hit or miss for me but this hit.
personally not /as/ big of a fan as court of the crimson king, but i definitely like this more than king crimson's stuff that straight up just sounds like a medieval soundtrack. breezy listen, a lot of fun.
goated.... its just good prog rock plain and simple.
Not a prog rock guy so I'm not sure what to think. I would say both of the title tracks, Pt 1 and 2, are pretty insane from a technical instrumentation standpoint. Pt 1 comes in soft and uneven - sensory overload on all the percussions - but when the strings (including guitar and violin) kick in around the 3min mark, wow. And I don't just mean the Jethro Tull stomping guitar just before the 4min mark, the whole lead-up to it and everything after it. It gets spastic again at times but I think the violin that is a central feature for most of the last 6min is excellent. Pt 2 has a bit of Neil Young sound to the guitar at kickoff but everything else is prog rock cornucopia. Mostly astonishing work but at times a little spastic. I don't know how I feel about the songs in between. Easy Money might be the best, though it has a borrowed Pink Floyd feel. The Talking Drum is impressive I guess, though the slow build of other instruments (or the step up in volume) gets a little tiresome. I think my gut reaction is a 3, but when I have to sit and think about what I heard I'm more impressed.
yep
Do not get some of the negative reviews of this. Thought this was really great. Rock music with some really interesting ideas and sounds that whilst pushing boundaries, isn't super challenging to the listener.
An acquired taste but I'm a King Crimson fan. Any King Crimson fan would enjoy this album