Reviews (page 4 of 8)
Not for me!
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.
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.
Sorry. Don't want this. This project continues to reinforce that prog rock doesn't do it for me. Despite the occasional friendly-to-the-ear riff in this, too much of it makes me want to throw it across the room.
A bit worried about this. The Apple Music review blurb includes the line, "Often considered the first part of a trilogy that features Starless and Bible Black and Red, Larks’ is arguably the toughest for new fans to process...". Oh boy. Welp. That was great. Like, really, really great. I'm a fan of prog, but I'm not the biggest fan of 70s rock. So even though I've known forever that King Crimson is considered one of the founding fathers of progressive rock, I've actually never heard anything by them. This album makes me realize how much I've been missing. Is it for everyone? Of course not. It's primarily instrumental, and the vocals aren't really that great. But in terms of listening to an album with historical relevancy, I'd say this fits the bill way more than yesterday's SECOND Christina Aguilera album. This truly is one of the albums that one should listen to before they die. 4.5 stars.
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.
Not much to like here, unless you’re stoned. I’m currently sober, so yawns.
Len Houmous actually has Robert Fripps tongue in aspic in his home. All as a result of one of Len’s famous acid trips that went horribly wrong! 3.2 1/6 Larks Tongue In Aspic (part 1)
No private session used for Spotify. I have always considered myself a progressive rock fan; however doing some deep dives of the genre made me realize I liked the more commercial side that came out it : Trevor Rabin era Yes, Phil Collins on vocals era Genesis and Billy Sherwood out of King Crimson and fronting Asia. Listening to those albums there is is flourishes of progressive rock, but a fair amount more meat of popular music. Back to the album, I like it, but won't put it on heavy rotation like Asia's first album that mixes prog rock with commercial rock.
electr., perc., rock, 1973 -> 2
Give me that backwards guitar on Book of Saturday every day.
Another English version of American music who I never got into when I was younger.
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!
3.5/5
I'm a big KC fan, this is still one of their odder albums. People love it though, who am I to judge?
This is ok. The violin parts and the "drum" song stand out from the rest.
Nice
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
Not really my jam, but interesting. Generally good vibes, but a little too avant garde for me
a legendary album for a reason. Starts out heavy and becomes melodic.
If tinnitus was an album.
not that bad
Good prog bb
no one knows what it means but it got the people going
the energy here is far too weird for me omg????????????
Short, but fantastic
iets minder dan hun debuut, maar nog steeds steengoed
Rather proggy. "Exiles" has cool moments. So does "Easy Money" which gets a lil' funky along with sprinkles of foley sounds and interesting percussion elements; sounds like a weird cousin of Pink Floyd's "Money." "Talking Drum" has a appropriately righteous groove w/ driving bassline, bongos, and instrumentation that keeps things moving forward, very in-motion song. The 'Lark' songs both have cool moments too, especially when it gets crunchy and almost metal-y. Prolly a bit too proggy for me to return to, but I dunno, might check it out again. It's cool throughout. It's just proggy, so it does a bunch of stuff and changes a lot. You know, prog shit.
Meh, long form pretty self-indulgent prog stuff.
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.
I thought this was kind of awesome...
Anything prog usually doesn't gel with me but this was nice enough... I doubt I'll revisit it but had beautiful mood and texture to it, kind of gentle folky/jazz/classical vibes
estou totalmente obcecada nesses queridos. coisa linda o uso desses violinos.
I truly have no words. I did my best.
A bit of a weird one but it really worked for me. Made me feel want to go and listen to more of the artist
Suprisingly interesting despite being excessivly proggy. It has some great parts, but on the whole it's not something I really need to listen to again.
not for me
Another classic prog rock album. Solid from start to finish.
To me, this sounds like aural conceit and self indulgence. I don't know if I dislike prog-rock as a genre but I know I didn't like this.
This is one for decent headphones. Bit over indulgent at the start/end
Too psychedelic for me.
Odd but cool, jazzy, reminds me of The Comet Is Coming. fav = The Talking Drum
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.
Thick sticky aural jam. I throughly enjoyed this album- and I don’t expect to.
I didn't expect to be listening to King Crimson today, but the 1001 albums to hear before I die project had other ideas in mind for me. Other than In The Court and Red, I am pretty unfamiliar with what else King Crimson has done, so I am walking into this project completely blind yet hopeful it will impress me. While this album may not as flashy or as well structured as Red or In The Court, Lark's Tongues in Aspic is yet another very detailed and thought out Progressive project from King Crimson that will really having you leaning forward in your seat for a proper analysis. I am starting to feel that maybe Prog Rock is not really as up my alley as I'd originally thought because I found Larks' to be quite plain and not nearly as compelling as a whole 46 minute adventure. Yes it has moments on the title tracks Part 1 and Part 2, but a lot of the middle work really felt like quite a step down. I appreciate all the thought put into the instrumentation and design of this project, but it really didn't do a whole lot for myself other than give me something to think about for 46 minutes. Really bummed I didn't like this more, but oh well I guess it wasn't meant to be.
Can't beat King Crimson when it comes to class prog. Eccentric, exciting, certainly a worthwhile listen. perhaps compared to their other albums it isn't much however
Ist mir zu experimentell gewesen
Prog Rock :-(
Nein, nicht meine Musik.
Didn't manage to finish but enjoyed what I heard of it
This was interesting. I enjoyed some of the trippier guitar sessions.
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.
Some cool drumming. Occasional misophonia provoking sounds. Some goes pretty hard, fortunately not so long as some of these things get.
very mystical
Interesting music but way too arty for me. 2 stars or D+.
Probably wouldn't run back to it but enjoyed it.
Not a great listen for an anxious person.
Mid
It took me a while to really get King Crimson, but after having explored a few of their albums, I really do now. Call me pretentious or whatever, but their music just has a style to it that I can't quite put into words, and it just speaks to me. And this album, while not my absolute favourite, is still a project that shows off many of their strongest moments, and really does still demonstrate why they are such a prolific band in the world of prog rock.
A good half of this is just noises.
Probably in my top 3 King Crimson records.
Favourite Track: Book of Saturday,
Prog masterpiece.
New gem for me
So awesome and weird and great.
This had a lot of cool parts but nothing with the immediate holding power of the other album I listened to by them. A more focused headphones listen may do more favors, but I wasn't feeling the noodles today.
Meh, given these guys plenty of shots
Another legacy of my prog-rock boyfriend, because King Crimson was his absolute favourite band. I've probably heard Larks Tongues in Aspic Part 2 five hundred times. OK, maybe 200, but still--A LOT. And I still think it's a great tune!
Really nice, quite crazy. I’d only heard Thrown of the Chrimson King before this. It can get a bit intense but I’m definitely going to chew on it for awhile.
this is not for me
not into a lot of the prog parts but enjoyable at times
This was a bit of a slow burn, it wasn’t instant to me but opened up to me as it went on. Probably one for repeated listens, and I would listen again given chance but not sure if I’d be rushing back.
People that say jazz is just “playing wrong notes but it sounds good” obviously don’t understand jazz but they also obviously haven’t listened to this album. THIS album is just a bunch of wrong notes that bills itself as “art rock” and I’m not sure where I stand on that principally, but I do know that it’s not for me
While not my favorite King Crimson album, this one definitely hits all the King Crimson beats. The large swells in instrumentation that hit you 4 minutes into the opening track fill the void left by trickling noises. Classic prog. Vocals weren't incredible, but that's not why people are coming to King Crimson. They come for the jazzy rock that keeps you guessing where it's going next. I enjoyed this album, but it's not breaking any existing idea I had of the band. I give it: I still prefer In the Court of the Crimson King/10
Crazy good guitar riffs all over the place, but this as a whole didn’t hold my attention. Too many sprawling songs and no direction, I need something a little more direct.
I’m clearly not intelligent enough for this one. Give me the Court though, that one is dumb enough for me.
My good mood from yesterday has been dashed. Nothing here grabbed me in any way and I wished for the album to be over within seconds. Indeed, had it gone on any longer then I fear I would have been forced to grind up a CD by whoever is the opposite of this (the Ramones, obvi) and mainline it into my bloodstream.
This one has glimpses of musical interest, but boy are they brief. Getting like the least popular release is probably not a fair intro to this band, but that’s the fun of this random album thing. Liked the percussion, didn’t like the nearby inaudible parts that made you crank up your headphone volume only to be jumpscared by the loudest thing on Earth 5 minutes later
That's not my taste in music
Nooooooooooooooo not again Oh cool eight songs in an hour im gonna love this. Maybe its bc im not listening as actively or because theres less vocal but im preferring this to the other album immensely. Still annoying but less interminable on the individual tracks. Actually the strings or whatever else is screeching on the last track is doing me head in what are you galatasaray fans. Shut up.
Поважаю гурт, але цей альбом мені занадто авангардний
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
Vissa långa och lite jobbiga låtar (tex första). Sen är det ganska många elemwnt som är najs. Svänger rätt skönt bitvis. En typisk trea.
Bitvis är det här riktigt jäkla bra (t ex Easy money) och de är uppenbart väldigt duktiga musiker. Påminner en del om Pink Floyd. Dras dock ned av en del experimentellt trams, som exempelvis i den första låten. Den här typen av lite svårare skivor tenderar ju att bli bättre och bättre med fler lyssningar, men hinner fan inte det, så landar i en trea.
Did not enjoy this at all.
I may have liked this one more than the first one from the list, which I think is their most popular. Super proggy. Cool stuff.
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!
Not too bad for a walk around the circle
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
come on seriously
Odd but can see where some bands draw inspiration
Not enjoyable listen, some hype moments that I enjoyed but a bit painful overall.
No me ha llamado la atención.
I hate this album. I could not finish the first song. The rest might be prog rock genius. I will probably never know.
Love me some king crimson & I think this album shows how experimental forward they are as a band. It’s not their best work though. There was an a hint of dare I say bashfulness here if not only to try and not be everything in the court of crimson king was. I get it, but I do prefer their other work. Gave me ELP vibes at times
Boring
Irgendwie eine weniger überzeugende Version von Pink Floyd, konnte mich nach dem ersten Hören nicht überzeugen, 2 1/2, schräger Titel, ich runde auf.
Technically fine and there’s a few songs I really like individually. Overall as an album it just doesn’t leave a mark on me though, and the hagiography of JM throughout my life predisposes me to shrug the effort off
Overall: 5/10 As a King Crimson fan, I have to admit that I've never really been a fan of this album. I find that there's just not enough going on for me to latch on to for a majority of the runtime. There will be these big moments of fun that are almost always immediately followed by a bunch of nonsense. I would have rather had Discipline on here to be honest. Fav Song: Easy Money
Music really good. Not totally my thing, but just can’t ignore its good.
You know, this wasn’t my personal favorite, but there were a lot of interesting musical things going on here.
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
Too much off key sounding horns!
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
I like the cover. Turns out im not a big fan of progressive rock.
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.
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.
Didn’t love it, didn’t hate it, wouldn’t listen again as I’m not one for longer prog rock songs and this could’ve basically been one long song, but it was a pretty interesting listen!
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)
This is an album that does a lot of really cool stuff but has never left too much of an impression on me. There are a lot of pieces I like but as a whole I have never found myself coming back to it. My opinion didn't really change on this listen either.
I remember kinda liking the first King Crimson album I got. This one I'm not sure I necessarily liked, but it was interesting?
It a vibe
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!”
Not as good as the other Crimson album on the list
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.
I can hear the influence this album had on other musicians I like but I did not enjoy this as a listening experience. Easy Money and to a lesser extent The Talking Drum are what saved this from getting one star.
No, King Crimson is not my music. I've tried to listen to a few of their albums over the years. But I was never able to connecto to the music. This album ... totally boring.
Way more abstract than I'd like
Barely recognizable as music
Great
Just because you can doesn’t mean you should
3/5 pretty good stuff on here and a queens sounding riff
These guys sound like what would happen if a dealer mixed up Black Sabbath and Pink Floyd's drug orders. Plenty of acid either way. It's definitely interesting, but I'm not sure how much of that crosses over to a pleasurable listening experience. It's not totally unpleasant though either--it definitely has its moments. One of those albums that one listen probably doesn't do it justice. There is obviously a lot of musical talent here. Easy Money is a cool song as is Talking Drum. Probably a high 3/5.
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.
I think I liked their first album better than this one.
First song was like the band were just trying to show off how many instruments were in the studio… for 10 minutes…. The next few songs on the album still had this experimental air to them. Not one for me to listen to again
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
Excellent album!
Połowę czasu modliłam się, aby pojawił się jakiś wokal, który jakoś uspokoi tę kakofonię, nada jej spójności i zepnie w całość. A kiedy się pojawił żałowałam, że Bóg mnie wysłuchał. Bardzo nadęta, przerośnięta płyta, która się dłuży, nudzi i męczy. Na granicy 4 i 5. 4.5/10 równane w górę.
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.
A little drier but still enjoyable in the background
There are some great riffs and lines in here, but they never stick around long enough to get lost in them.
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.
I do not enjoy listening to noise just for the sake of hearing noise.
Unsurprisingly, another prog album I could just not get into. Some of the shorter songs are more palatable, but honestly these sort of songs that just drag on without enough intrigue are really not the best at keeping my attention.
Absolutely incredible, especially Exiles!
prog materpiece
I normally really love king crimson, but this album was too inaccessible and hostile for my tastes to properly enjoy.
It makes sense that this album comes from the early days of prog rock. It's essentially several droning tracks of random instrumental noise. I try to find a redeeming quality or a song of favor from every album, but that was a real struggle with this one.
bit weird very enjoyable. listened to part of this while staring out the train window at a rainbow so that felt very poetic
When it was rocking I liked it. When the prog kicked it there was just a lot of bad noise. 2.5/5
3-4
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.
There are a few nice moments throughout this. But it is very much not my scene. Sort of noodle-y and annoying on a song-by-song basis, that adds up to a full album I really hated listening to.
Leukani loksahti auki. Hyvin vaihtelevaa ja ajoittain hyvää. Liikaa psykedeelisyyttä makuuni, mutta melodisista osioista tykkäsin.
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.
Not for me.
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 still don’t know what to make of prog rock as a genre. This is the second album I’ve heard by King Crimson. Pretty good, kinda weird, sometimes interesting, sometimes forgettable. So, three stars. I am reserving judgment for now.
It's King Crimson, so you either like them or hate them. I like them, but this one is not my favorite. I give a three.
Thought this was a bunch of meandering nonsense for the most part. Didn’t hate it, but still…two stars.
Interesting prog rock. I've only listened to the first record before. It's ok. Feels very ummagumma-y for 1973. I liked Easy Money but everything is over 7 minutes long.
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.
A little meandering at times (not unexpected/unwelcome), but when it locks in it goes pretty hard.
Nice prog rock
Boring noise for the most part
Similar to their other music on this list, it wasn't bad, but it feels much longer than it actually is, especially the instrumental tracks.
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.
I actually liked the other King Crimson album better than this one. This was a bit more out there. It was cool to have on in the background, but I probably won't listen again.
No standouts
I’m completely illiterate when it comes to prog and/or art rock. Is this just experimental music? I’m not sure what to make of this album altogether. I feel like it might be better understood or at least experienced under the influence of something psychedelic, but that’s not my vibe so it feels a bit lost on me. I find myself wondering who this album appeals to and who are King Crimson’s biggest fans. I’m thoroughly intrigued at the intended and chosen audience.
Listening to this, I can hear its influence. In every song there are hints of what would be emulated in decades to come. I didn't enjoy it on its own merits, but I appreciate the role it plays in the history of music.
2/10… progressive rock
Some neat bits, but long-winded in that way only prog rock cane be at times
This album gave me the brain pain.
I don't mind prog, but this is just ok. Nothing really stands out, and it's instrumental, so no cool lyrics.
Album cover ist cute Goofy ahh sounds mittendrin Nicht meins
Got a lot going on here. Most of it I liked alright.
Wanky dull music doing its best to sound "different" There's a few nice moments. The start of Book of Saturday Its like early genesis gone wrong. Ron's gone wrong
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.
Standard jam band album, it's good but not for me.
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.
Kinda fun, but goes on a little bit
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.
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.
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.
1001 Albums You Must Hear Before You Die: 20/1001 There are probably numerous high intellect ways to describe what exactly Larkss' Tongues in Aspic is. If the name itself doesn't immediately confound you, the first track and each subsequent one will. There is no beat that maintains, no tempo kept, it's a constantly evolving album full of various sounds, beats, changes, melodies, and sometimes pure confusion. It's not an album you just throw on in the background, it's not one that has any song to grab you, but it's a collection of work that when fully engaged in you have no choice but to appreciate the artistic mastery within. In some ways it was more akin to listening to a stripped down orchestral performance. It was music brought to life without a picture to accompany it. There wasn't a story though, there was just persistent experimentation and trying new things. It works, but it's certainly not for everyone. I don't think any song here will ever make its way to my playlists. I can't even give a podium rating without doing a disservice to this body of work, but perhaps one day I'll pick it up again to continue identifying the various aspects, of which there are countless, once again. It's hard to track, a bit stretched out, beyond pretentious, but it's quite good. It's deserving of a listener who is only engaged in this album itself and not anything else. It necessitates it. If stepping out of the box is your thing, this is an album you would certainly appreciate beyond more casual listeners such as myself. I find myself at the most extreme crossroads of rating for raw talent vs. my own personal enjoyment, and the two cancel out to give Larks' Tongues in Aspic by King Crimson 3/5 stars.
yep
I’m confused on this one. I’m aware of King Crimson and Prog Rock so it’s not out the ordinary for me but idk how I feel about this one. I liked most songs but there were annoying sounds throughout the album which just thru me off but was also a factor that kept me enjoying the songs. Favourite song was Exiles and Book of Saturdays then both being shorter songs with actual words. Yk it wasn’t amazing but I did enjoy. I will not be returning to this one and I’m giving it a 7/10 3.5/5
I disliked it less than I thought I would.
Too much fuckery on this one. Exiles was very good though
A smattering of good bits amongst a bunch of nonsense. Typical Prog rock. 2 stars.
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
Never heard it before. Some of my favorite bands were probably influenced by this. It's good, but I like the bands they influenced better. At least some of them. This sounds too 70s for me. Favorite song: larks' tongues in aspic pt.2
I'm a King Crimson fan, but never got around to this one, so thank you list. Other than Part II of the title track, I was disappointed. I'm generally not a fan of violins used in a jazz-like setting (excluding Jean-Luc Ponty), so I wasn't into a lot of this. Liked Songs Added: Larks' Tongues In Aspic (Part II)
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.
is very interesting, the mix between rock and classical music is really cool, i like how they experiment with the music
This pairs so well with espresso. I was prog rocking out to my best abilities.
An acquired taste but I'm a King Crimson fan. Any King Crimson fan would enjoy this album
Not my cup of tea but this wasn't too bad. Mid 2s.
King Crimson has much better albums than this, so not sure why this also needed to be included.
Okay, I queued this up and heard the first 30 seconds and was like what the f is this. Then I started getting into it and before you know it I played it completely through without any pauses. Really love when you have no or low expectations on an album and you come out the other side really enjoying it. Will bookmark to come back to this!
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
Weird, but I don’t hate it.
Compared to the other King Crimson we listened to, this is way more chill and ambient. I found it easy to listen to the long songs. Many of them were very entertaining, even if I wouldn't listen to them on my own. Every song was packed with energy and noise in a digestible way, and in a way that gave each instrument it's own moment to shine. I couldn't help but bounce my head along to every song and wonder what inspired the creation of each one.
For Two Weeks We Could Appease The Almighty 1001 Albums Generator 86 (07/31/2025) After the release of their fourth studio album, the underappreciated Islands, King Crimson was in a bit of crisis. Founding (and only constant) member Robert Fripp's musical vision was at odds with the rest of the band. Fripp decided to split off and find a whole new lineup to record Larks' Tongues In Aspic, notably including ex-Yes drummer Bill Bruford. This new version of King Crimson had some aspects in common with their previous lineups, but the overall sound of Larks' Tongues In Aspic was quite a departure from what they had done before. The sound of this album is a highly experimental form of prog, incorporating elements of modern classical music and even some metal. Honestly, this is one of my favorite King Crimson albums. It is my favorite up to this point in their career, with only Red and Discipline being above it overall. Yes, I actually like this album more than In The Court Of The Crimson King. My biggest gripe with that album was the extensive improvisation of Moonchild. The closest thing on Larks' is the penultimate track, Talking Drum. While this is still my least favorite song on the album, it is much more structured than Moonchild (and shorter). The rest of the songs here are fantastic. From the experimental avant-prog of both parts of the title track to the classic hard rockin' of Easy Money to the beautiful ballad of Book Of Saturday, there is so much to love here. Every member of the band has different moments to shine. The album starts with this melodic percussion inspired by gamelan music that builds into a suspenseful violin riff before leading into that first punishing riff. This devolves into this crazy Fripp riff before David Cross steals the show with some beautiful violin for a while. However, my favorite part of this song is the last minute or so with what sounds like a super heavy guitar going through an octave pedal under beautiful violin and guitar arpeggios. Part II of the title track is a totally different vibe that predicts what the band would do on their next two albums. It's a total riff salad for the first half or so before cutting to an extremely heavy riff with a dissonant violin riff behind it that leads into an extremely noisy outro. What a way to end an album. The middle songs aren't half bad either. Book Of Saturday is a gorgeous ballad that serves as a wonderful change of pace after the chaos of the first track. Exiles really reminds me of I Talk To The Wind off the band's first album. Easy Money is probably my favorite song here. It is a really classic sounding rocker for the most part, but KC still puts their weird flare on it and make it really memorable. Larks' Tongues In Aspic is an album I didn't like much when I first heard it. However, a few years does an album like this a lot of good, and this is one of my favorite King Crimson albums now. It's like a 4.5/5 that I will round down to a 4. Favs: Larks' Tongues In Aspic (Part I) Easy Money Larks' Tongues In Aspic (Part II) Least Fav: Talking Drum
This album gave me a headache. I am not a fan of prog-rock. Yes, the album was ahead of it’s time, but I did not enjoy it at all.
beedly-beedly, with some Steve Reich influences.
True masters of music. It feels like music from a different world. Just be patient while listening to the album!
This album is like midwest weather. If you don't like it, wait 5 minutes and if you do, then not for long. 5/10
To me this feels a lot more like experimental post-rock than prog, which also means it sits more squarely in my own wheelhouse. It follows a fairly familiar pattern with both though, of having long periods of patient build-up to those big payoffs. This album has a slightly disappointing ratio of payoff:build-up; the payoffs aren't quite as frequent as you'd hope for but when they do pay off, there are some brilliant moments. The epic, slightly bloated title-track bookends are probably the most notable for this, with a few relatively more straightforward rockers in between. It ticks the boxes for me in terms of being an interesting and overall enjoyable experience. I immediately like it more than my last KC album (In The Court... Yeah. I didn't really get the hype there.) and I can see myself coming back to it again in future. It seems like it would play well on a long car trip.
To me there is nothing redeeming here. Not worth the first listen let alone another.
Beautiful, interesting and original. Just mind bending that it’s from ‘73
You know sometimes I don't want to listen to jam
#DÍA 9: 1001 Discos Que Hay Que Escuchar Antes De Morir (English Translation Below) De King Crimson sólo había escuchado su legendario debut y el oscuro Red, dos álbumes que me parecen una absoluta delicia en cuanto a rock progresivo se refiere. Por ello, escuchar un disco que se encuentra entre medias dentro de la evolución de la banda ha sido realmente interesante. Como se observa en la portada, veo dos lados a este proyecto: el sol, que representa los momentos más enérgicos y poderosos del proyecto y la luna, que es las caricias de las piezas más suaves (aunque realmente dramáticas, algo común en la música de la banda) y los preciosos pasajes de cuerdas. Buen representante de esta interpretación es Larks’ Tongues In Aspic, Pt, 1, la cual pasa de unos realmente pesados riffs a un ensoñador pasaje de cuerdas. Por lo general, la habilidad musical de los distintos integrantes de la banda se hace muy presente en este disco, principalmente en los temas más progresivos, sean las increíbles improvisaciones del tema de apertura, el profundo bajo de Easy Money o la perfecta progresión de The Talking Drum. Al final lo único que pienso que le falta a este disco es algo de cohesión, una mejor mezcla entre los momentos suaves con los intensos, algo que pienso que perfeccionaron en Red. Favoritas: Larks’ Tongues In Aspic, Pt, 1; Easy Money, The Talking Drum, Larks’ Tongues In Aspic, Pt. 2 Menos favorita: Book of Saturday #DAY 9: 1001 Albums You Must Hear Before You Die I had only listened to King Crimson's legendary debut and the dark Red, two albums that I find to be an absolute delight when it comes to progressive rock. That’s why listening to an album that lies in between, in the band's evolution, has been truly interesting. As seen on the cover, I perceive two sides to this project: the sun, which represents the most energetic and powerful moments of the album, and the moon, which embodies the gentleness of the softer (though still dramatic—something common in the band’s music) pieces and the beautiful string passages. A good example of this interpretation is Larks’ Tongues in Aspic, Pt. 1, which shifts from really heavy riffs to a dreamy string passage. Overall, the musical skill of the band’s various members is very evident on this record, especially in the more progressive tracks—whether it's the incredible improvisations of the opening piece, the deep bass of Easy Money, or the perfect progression of The Talking Drum. In the end, the only thing I think this album lacks is some cohesion—a better blend between the softer and the more intense moments—something I believe they perfected in Red. Favorites: Larks’ Tongues in Aspic, Pt. 1; Easy Money, The Talking Drum, Larks’ Tongues in Aspic, Pt. 2 Least favorite: Book of Saturday
SUPER-prog. At times, it's almost classical music. The musicians are amazing. Tony Levin is the man. I never really spent time with this band, and the barrier to entry is quite high if you're not expecting it. This album weird. Good weird, but not super accessible. I would listen to others by them, but likely won't return to this.
Great album
Either this is a work of brilliance or a mess. Not sure which one yet.
I know they're an influential early prog-rock group, but King Crimson has always been second fiddle in my mind behind groups like Pink Floyd. Still, I can see the inventiveness here and admire their desire to experiment and push boundaries.
Prog rock pionero (del mismo año que Dark Side of the Moon) con influencias de la música clásica modernista del este de europa y mucha improvisación libre. Un álbum lleno de cambios, a veces simple y a veces tremendamente complejo, que requiere de una escucha activa. Nadie duda que King Crimson sean pretenciosos y a veces cansinos en su experimentación. Pero su música nunca llega a ser puro onanismo cacofónico, como en grupos más avant-garde a lo Captain Beefheart. Al contrario, los serpenteos de todo tipo (dinámicos, rítmicos, atmosféricos) están hechos con muy buen gusto. Un álbum que transporta a otro mundo y que parece mentira que sea del 73. Aunque para merecer cinco estrellas debería ser más accesible.
Some incredible ideas with largely enjoyable execution; this would absolutely scare the hoes if it came on shuffle - but was a great sit down experience
Fuck yeah, dude. One of my favorite KC albums. My testicles are flowing with excitement.
Listening to this was a fucking chore.
Beautiful, I've never listened to this whole album. It was really entertaining <3
Pretty good, not my kind of music but some fun instrumentals for a talented band.
Ennuyeux et principalement instrumental
A bit of a struggle but some good stuff in there
Forgettable prog rock - nothing of substance and just kinda noise throughout the album. Not bad but just bland
Not a fan of this album; it doesn't go anywhere, and the prog elements detract from the overall experience. Not entirely bad.
I imagine this is a band that takes itself way too seriously. They give a lot of high fives for the xylophone riff they just recorded. Every song felt like it was about to start…..just too much of everything. And the lead singer sounded like he strained his groin hitting some of the notes. This is not for me.
Sonic texture is what springs to mind. All sorts of textures. Rough, smooth, squishy, solid.
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.
While more interesting than other bands in the prog rock canon, with classical instruments, major jazz influences, and a dearth of lyrics about wizards - this still didn’t really hold my attention. Great musicians though. High 3
Aburrido, bastante experimental aunque demasiado extendido para lo que es
I'm a fan of weird theatrical concept prog stuff. At its best I wish this album could underscore my life. Easy Money is so great. Groovy, immersive, mysterious. I actually think this 1001AG app, and Spotify actually, does a disservice to the album by linking to the expanded/remastered album. Those bonus tracks absolutely shatter any positive feelings. So noisy and unpleasant. Beware the bonus tracks! But yeah, 3.5 stars all day for anyone who can create Easy Money.
I like the mix of orchestral bits with the prog rock, very nice
Upgraded this one after a few more listens, it’s giving Shostakovich but prog rock.
COME BACK AND REVIEW THIS!!!
started and was not a fan
Not for me.. not near as cool as their last entry
I just can't with the British prog rock. This one is mostly a bunch of noodling around. 1.5 stars
Best Song: Book of Saturday. Nice vocals, and maintains the prog rock feel without having to indulge in a 10 minute meandering mess. Worst Song: Meandering Drum. A song that really thought it was doing more than it was. The titular drum was cool, but didn't play as much of a role as it ought to have. And then it concludes with this annoyingly spastic burst. Overall: It's alright. Doubt I'll listen to it again, but I didn't hate it.
Not as good as Court of the Crimson King, but decent enough.
Gooey creamy prog goodness. I really should listen to more King Crimson outside of In The Court Of The Crimson King, because this was fucking great. Riffs on riffs on riffs, all gnarly and weird, and a great piece of work front to back. Loved it.
Not as fun as the title track suggests. Pretty cool record though, fun grooves but as with all prog bands has a tendency to drag after a while
Disgusting.
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.
Some really beautiful stuff in here but you have to wade through a lot of noodling to get it.
**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.
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.
I think I need to be a little more wasted to get into this but not bad. Our group got a Yes album yesterday and if we're pitting prog vs prog then King Crimson for the win.
Not thier best, but OK
Enough with the chimes and the steel drum or marimba or whatever. This is going to be a long album. Avant-garde anything is already hard to tolerate and this is more than an hour for eight songs. It can not be said enough, prog rock sucks. This straight up sucks. A 13 minute wordless experimental piece that is continued later is not a good start. These guys must have gotten along great with Pink Floyd. This feels like a never ending procession of psychedelic nonsense music. Les Claypool heard this album and Primus was born. And now some random screeching noises to end the song. This album went out like it came in, terrible.
Why? Why make an album this forgettable? This started as not unpleasant background noise, until Wetton’s off-key vocals began. He does NOT have the voice of a lark... suggest he lay off the aspic. The only track that stood out was The Talking Drum, but only because I thought my speakers were broken for half of it. Wishing they were, tbh.
2 Stars (5/15)
Totally new to me. Very out there get proto pros rock hints but fairly off kilter. Not sure I’d go back and listen again but the musicians have talent and seems like they were allowed to run wild with whatever instruments they could find. Could see a band like GYBE being influenced by this.
Feels like I'm infringing on their copyright by listening to this :/
This is proper prog - lengthy, complex parts interweaving with each other. Even after a few listens I'm not totally sure what I feel about it. Feels like a 4 just because it's genuinely doing something different.
its king crimson of course is awesome. both larks tongues in aspic songs are so fucking crazy
I thought this before I read it in another review, but it hits the nail right on the head. Too much Prog not enough Rock. Easy Money is a great rocky track. Worthy of any Pink Floyd album. But the rest is a bit stop/start. Good meaty bits and then a lot of fucking about. And often when the green shoots of goodness start to poke through, they are stamped on by the grade 3 violin scraping in. I gave this 3 listens and the good bits were growing on me. But I hope Fripp fired the violinist 2½
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.
This felt more like an experiment and an experience than an album, which was really neat, but didn't do much for me.
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.
that was very strange
Too much navel gazing progressive noodling to make this album accessible enough to listen to.
2.5
Not as good as the court album
Gear: Moondrop Variations Artwork: 🌞🌒☀️ Production (Expanded & Remastered Original Album Mix): 🎧😘🤌 Music: 🎻🔥🌀 Rating: 🐦🐦🐦/5
Liked it. Can't say it blew my mind or anything, but I definitely liked it. Faves: "Talking Drum", "Larks Tongues, Part 2"
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.
3,5
Challenging listen. I had to put this on a few times to get in mood for classic prog. Worth it though, this is rewarding if I'm in the right mindset. Lots going musically.
D tön vom Larks sinere Zunge hend mi no wohlig gstimmt. Paar lieder denn wider eher experimentell-orientalisch aber het mi alles gar ned fest gstresst. 3 halbliideschaftlichi Zungeküss
Öpis anders, viel diversität, aver qu nöf bahnbrechend. Gämer dene peeps 3 kings
Dense. Very difficult to find.
King Crimson is just one of those classic critically acclaimed bands that I just do not get. Everyone seems to love them and their albums so much, calling them works of art and masterpieces, and perhaps Larks’ Tongues In Aspic is a little lower in many people’s rankings of their greatest work, but my point still stands that I just don’t quite understand it. It isn’t all that amazing to me. In fact, it was a mostly dry and boring listen. I will admit that some of those instrumental rock segments went hard, but a large portion I was sitting wanting it to be done already.
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.
M'eh
Not for me, sorry! I went through the whole thing but it was too much strange so that I could really enjoy it! I know this is not a popular opinion since I saw the high ratings around here... but I can't go for such, not my thing. Once again, sorry, all the KC lovers :-(
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.
3.5 - Good
Pretty good;
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
Alright, let's talk about King Crimson's Larks' Tongues In Aspic. This one's a solid 4.5 stars, no question. This is classic King Crimson right here. You've got Wetton, Fripp, and Bruford all on board? Come on, you know it's going to be great. I'm a huge fan of King Crimson, and this album really delivers. If you're into vinyl, you absolutely need to pick this up. It sounds fantastic on wax. Just sit down, chill out, and put this record on the platter. You won't be disappointed.
Robert Fripp casually invents progressive metal on this '73 album containing contrast after contrast - including the godawful mixing making manual oversight of the volume knob a necessity.
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.
"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.
Kinda reminiscent of Pink Floyd, but without any standout tracks. I’d like to check out one of their more popular albums sometime.
What an album!
Fantastic. Always loved King Crimson. Not my favourite album by them. But it's incredible stuff.
This was good background music while I worked.
Outstanding. Musicianship, lyrics, range of tempos and volume. Perfect.
It is sonic, but not always music. I don't hate it, but I'm also not high enough to enjoy or appreciate it. This album makes me uncomfy. Maybe that's the objective, but I don't see why it should be.