"King Crimson lives in different bodies at different times and the particular form that the group takes changes. When music appears, which only King Crimson can play, then sooner or later, King Crimson appears to play the music." ΓÇö Robert Fripp
Now in its fourth decade of on/off existence, altering lineups, and a succession of albums which, upon release, have more often than not sounded radically different from their immediate predecessors, King Crimson continues to entertain, influence, enthuse, confuse, provoke, inspire, irritate, record, and perform all over the world.
The first incarnation of King Crimson rose from the ashes of Giles, Giles And Fripp, consisting of Michael Giles (drums, vocals), Peter Giles (bass, vocals), and Robert Fripp (guitar), augmented by Ian McDonald (reeds/keyboards), lyricist Pete Sinfield, and guest vocalist Judy Dyble. The group recorded an album, The Cheerful Insanity Of Giles, Giles And Fripp, (1968) before turning to the concerns of a permanent vocalist and a better name. The addition of Greg Lake (bass, vocals) and the departure of Peter Giles and Judy Dyble brought the first lineup of King Crimson into existence. As Robert Fripp puts it more precisely, the band "was conceived in the kitchen of 93a Brondesbury Road, during the second half of November 1968, and born on January 13, 1969, in the Fulham Palace Cafe, Fulham Palace Road, London."
The bandΓÇÖs first gigs in London made a huge impact on fellow musicians and music business cognoscenti alike. Yes founder and guitarist Peter Banks, Bill Bruford, and ex-Genesis guitarist Steve Hackett all attest to being blown away by the bandΓÇÖs early shows, and as a result of the intense buzz generated, Crimson was asked to support the Rolling Stones at their historic Hyde Park concert. On July 5, 1969, less than two months after CrimsonΓÇÖs first-ever gig (April 9 at LondonΓÇÖs tiny Speakeasy Club), King Crimson played to an audience of 750,000 people in Hyde Park, and whatΓÇÖs more, according to Robert Fripp, "stole the show." The gig propelled the group to national prominence and there was also a large number of Europeans and Americans in the audience who spread the word when they got home.
"King Crimson is, as always, more a way of doing things. When there is nothing to be done, nothing is done: Crimson disappears. When there is music to be played, Crimson reappears. If all of life were this simple." ΓÇö Robert Fripp
Featuring a leaner, pared-down sound and a new line-up to match, The ConstruKction Of Light is the band's 12th studio album and the first since 1995's critically acclaimed Thrak. The new line-up of Robert Fripp (guitar), Adrian Belew (guitar, lead vocals), Trey Gunn (touch guitar), and Pat Mastelotto (drums) is, according to Robert Fripp "a double duo and/or a quartet. It is also four soloists, four trios, and six duettists." This concentration of musical powers allows for great flexibility, supple interplay, and a renewed simplicity that is the hallmark of the album.
Projecting forward the musical energy of Crimsons past which has so influenced ΓÇÿ90s bands such as Nine Inch Nails and Tool, The ConstruKction Of Light builds on the band's experience of working over the last three years in the ProjeKcts. The new lineupΓÇÖs experimental alter-existence ProjeKct X contributes a bonus track, "Heaven and Earth," at the end of the album which in turn owes much to Fripp's solo improvised Soundscapes and the 1998 album Gates Of Paradise in particular. Such are the layers within layers of Crimson's development since Thrak.
The ConstruKction Of Light reconciles multiple perspectives of King Crimson, from the mutant Delta voodoo of "ProzaKc Blues" and the poly-rhythmic overlays of the title track to the colliding lines of "Frying Pan" and "Larks' Tongues In Aspic Part 4" (the latter featuring a transformed quote from 1974's Red). One common feature is the extent to which the musicians are immersed in electronics while at the same time transcending them (echoing FrippΓÇÖs earlier Frippertronics and Soundscapes), performing in real time treatments and textures others have to program while preserving the interaction only live musicians of this caliber can achieve. Perhaps technology has finally caught up with King Crimson!
The only band of its generation and one of the very few of any period to remain influential and innovative throughout its career, King Crimson's musical adventure continues with a European tour beginning in Copenhagen on May 27. Crimson plans to perform in Japan and the U.S. later in the year.
