Larks'Tongues In Aspic

LTIA represents a change in Fripp's aesthetics, turning from acoustic textures and orchestral gestures that made up the first four KC albums with decidedly diminished returns to a new, harder, more improvisational edge. The effect is electric, strange, and daunting. The new band consisted of Fripp, Wetton, Bruford, Cross and lunatic Jaime Muir whose stay was too brief. Influenced by the Mahavishnu Orchestra, this new band eschewed horns to take up the violin, a not wholly successful experiment. Where the MO never denied their Jazz origins, KC had to adhere to rock textures more surely. Fripp's guitar dominates this album, as it all KC releases, but rather than using the instrument as running commentary (see Lizard), he now uses his black Les Paul to made strong declamations in favor of chaos. Admittedly, Fripp's history shows that he attempted to jam (see Moonchild) with mixed results. He lacked the players, or in this case, the minions to effect the jazz-rock compositions he now wanted to produce. Bruford especially fell under Fripp's thrall, leaving an up and coming commercial breakout with Yes, to mine the dark diamonds of KC. Now, working with the domineering perfectionist Fripp, Bruford could indulge his Jazz predilections without constraints. Wetton, a journeyman bassist and vocalist landed in KC and rose to the occasion. The other two players, Cross and Muir must've been in a state of shock. Essentially a power trio, the new KC's vision included dynamics, sudden musical shifts, and longer pieces. The new KC lays down the gauntlet. I remember buying this album, expecting to hear something like "I Talk to the Wind," instead I stood at the gates of hell, gazing forthrightly into the abyss. I didn't know what to make of the music, but then I understood. KC was always the best of the Prog rock stream.

The overuse and consequent misuse of "classic" in reference to popular music has cheapened the word by elevating the mediocre. A "classic" once possessed an enduring relevance, immune to cultural change. Now cultural change occurs in weeks, not years; and advances in recording formats now confer the title of "classic" to anything released on CD for the first time. Not only does this serve to rescue from irrelevance most 70's music, it places the 30th anniversary release of King Crimson's Larks Tongues in Aspic in danger of being considered a "classic" imposter. But time only has enhanced this recording and the appreciation of its bold direction. That makes it a genuine "classic" in the classic sense of the word. Led by guitarist Robert Fripp since its inception, Crimson's most cherished trademarks included the music's dynamic range and its always slightly-altered lineup. For this sixth album however, Fripp chose a brand new crop of players; two notables and two relative unknowns. The much-publicized additions of drummer Bill Bruford, suddenly departed from Yes, and Family bassist John Wetton created renewed enthusiasm for the new Crimson among the rock press, Crimson's fans, and the group itself. And besides Bruford's and Wetton's energy, creativity, and strength as a rhythm section, the improvisational skills of violinist David Cross and avant-garde percussionist Jamie Muir would have a profound impact on this and subsequent incarnations of Crimson. Bruford, in particular, has often spoken of the influence Muir had on his development as a percussionist. The album offers two approaches: On the song "Exiles", a glimpse of where the band had been, and on "Lark's Tongues in Aspic" parts one and two, an ample, powerful preview of where it was headed. Lark's Tongues in Aspic harkens to when LP records were created and enjoyed with the experience of listening in mind; listening from beginning to end in one sitting. Indulge. That the music satisfies and challenges after 30 years will renew your faith in "classic" rock.

One of the most challenging and unusual records in the Crimson catalog, and ultimately one of the most rewarding. I did not understand "Larks Tongues in Aspic" when I first heard it, but even so I could not help but feel as if the deficiency was on my part. This was King Crimson, after all! But soon it all made sense. Initially I was infuriated by the first three minutes of the record, which consist of repetitive but quiet percussive sounds that don't seem to be going anywhere. But then BANG! It explodes into pure chaos, and lets the listener know that the mad scientists are at work. There is such dynamic contrast here that is carried not only within individual tracks, but over the course of the entire record. There is a logical flow here, and the whole record feels like a big crescendo, culminating in one of Crimson's most well-loved tracks "Larks Tongues in Aspic Part Two." There is beauty here too. "Book of Saturday" and "Exiles" are played with such incredible subtlety, you forget that they are a rock band at all. Given the high degree of creativity that was occurring in 1973, it is really an impressive feat that "Larks Tongues in Aspic" stands out as particularly imaginative. While, it was hinted at in Crimson's first four records, this was the first time that Fripp fully incorporated atonality into a rock framework. This alone is worthy of a great deal of attention. "Part Two" sounds like it is a direct homage to Bartok's String Quartet No. 4 (fifth movement). The use of post-tonal harmony within the texture of rock allows Crimson to achieve a musical affect that others have not. Now it's the twenty-first century, but we have still yet to come up with a good answer to this curious disc.

This was one of those albums that made me realize how I could not trust my first impression, and how something very different could grow on you after awhile. I did not enjoy it at all the first time I heard it. I was used to the lush, almost symphonic sound of King Crimson's first three albums, and Larks' Tongues sounded very dry, sparse, and abraisive, and I could not stand John Wetton's singing. Later on, I had acquired Starless & Bible Black, and Red, and found myself getting used to this new minimalist Crimson. That was when I came back to Larks' Tongues, and decided liked it better than anything Fripp's Crafty Crew had recorded in any incarnation. The album opens with several minutes of African thumb piano music, creating a meditative setting. This fades off and is replaced by urgent, staccato violin music, intertwining ominously with some very distorted low guitar notes fading in. The energy builds quickly and relentlessly, culminating in a jarring high-volume instrumental, rhythmically complex, unapologetically dissonant, frantic, and quite savage - yet amazingly contained and precise. "Book of Saturdays" and "Exiles" contrast the opener with two subdued and melodic vocal pieces, with lyrics by longtime (then) collaborator Pete Sinfield. I hate to say this, but John Wetton's singing on these works doesn't do them justice; his voice is strained on long notes, and could have benefitted from just a bit of production enhancement. But band visionary Robert Fripp was going for a more raw, natural sound (which he would later refer to as audio verite') in this reinvention of King Crimson, consequently a pleasing vocal sound was not an issue here. Wetton's vocals serve him better on the louder, more edgy "Easy Money", which features eccentric noises by guest percussionist Jamie Muir. This segues into "The Talking Drum", primarily a percussive interlude by Bill Bruford that builds in rhythmic intensity, joined on bass by John Wetton, underscored by the ominous, diatonic freeform sustained distorted guitar of Robert Fripp. The piece concludes abruptly with a long, excruciating screeching noise, and slams right ahead into "Larks' Tongues in Aspic Part 2". If there was ever any doubt that a 5/4 instrumental could rock and rock HARD, that doubt is laid to rest here. Employing more of the dissonance and diatonics from Part 1, the energy lets up just long enough for a melodic section on violin to slowly build it back up again. Violinist David Cross is given a chance to wail in a brief improv section; otherwise the piece maintains structural economy right up to an almost too abrupt crashing finale, which fades away leisurely, leaving the listener in silence save for his fast beating heart. What might have made this collection so difficult to listen to at the time of its release - an uncompromising, non-cosmetic in-your-face approach to recording and production - is exactly what makes it sound so fresh and alive nearly 30 years later. Freed of the pops and rumbles of vinyl records so intrusive in the quieter sections, Larks' Tongues in Aspic achieves its intended dynamic potential in digitally remastered form. And thus a work ahead of its time comes of age. If there were anything it could be compared to, Trent Reznor comes to mind, and perhaps some of Primus' work. Otherwise, this mighty dinosaur stands well on its own ..... with some still very sharp teeth.

This exhaustive set is a real treasure. My only problem is, there are no 'times' on the songs. Some are 90-minutes long on Blu-ray. Anyone have a source?

Innovative and as stunning as its cover. The level of musicianship on display is mightily impressive. Fripp is a given, and I’m a huge fan of work by the late John Wetton (a strong bassist and singer). But what most especially stands out here is the drums/percussion with Buford and Jamie Muir. The latter is one of those artists who really don’t belong in a Rock band and we are forever blessed in having this recording of the band in a studio during Muir’s six or so months in Crimson. I understand Muir’s presence deeply effected Bill Bruford in giving the latter new and theretofore never considered perspectives and ideas about drumming as well as percussion in general. Play it loud.

Larks is a challenging aural experience for any ear. If you were expecting another In The Court, then tough luck and shame on you for such expectations. No two King Crimson albums sound the same or similar and nor were they intending for them to. At first Larks sounds really quite dissonant. But then you listen closely and you start to discover all sorts of wonderful things. You just have to listen carefully. Larks is not the type of album that you play as background music and still enjoy it. You have to make the effort to enjoy it and the rewards are endless. Larks is to King Crimson as Sgt Pepper is to The Beatles. The 30th anniversary edition is what I have and the remastering job is fantastic. It's the definitive edition. I just hope that the record company doesn't tamper with and replace it with something inferior.

Just from the title you can tell this is going to be a little different from your average Rock & Roll excursion. And different it is. Is this even Rock? Well whatever it is, I like it. This is probably my favorite KC album, although "In the Court" and "Starless and Bible Black" are barking at its heels. I don't think words can convey the sound of this album so you'll just have to listen to it, but be forewarned, it is not for everybody. If you tend to like the Top 40 stuff off the radio you may want to take a pass on this one. If you tend to be a bit more adventurous might I suggest a darkened room, an easy chair, and the volume cranked rather high. Herbal supplements are optional.

Ottimo CD, buona registrazione e suoni cristallini, è un capolavoro Prog-Rock dei KingCrimson. Chi li ama e vuole ascoltare qualcosa di eccezionale deve averlo.

Le soleil énigmatique de la pochette vous accompagnera tout au long de l'écoute de ce CD, souvent menaçant parfois railleur; Vous qui pensiez passer une matinée tranquille allongé sur le sable les pieds dans l'eau comme disait l'autre; c'est raté. Au début le premier contact est plutôt agréable, vous serez réveillé en douceur par un tapis de percussions lancinantes agréable mais bientôt envahissantes (des marimba, xylophone?), surtout lorsque viendra se glisser entre les notes un inquiétant cliquetis d'origine électronique ou plus surement d'un kit de batterie et percussion. un truc qui me fait penser à des insectes rampants ou à des petit crabes puisque l'on est sur une plage. Puis un violon entre en scène sautillant mais angoissant; comme annonciateur d'un grand malheur, le malheur surgit quelques instant après. L'oppressante guitare de Robert Fripp, rampante, puis furieuse ouvrant sa grande gueule pour vous croquer tout cru, guidé par la volonté de ce soleil méchant. Il est temps de déguerpir et d'aller se cacher dans les dunes La musique de King Crimson est très forte émotionnellement; dérangeante parfois car elle frappe parfois où on ne l'attend pas; peut être au coeur de l'enfance et de ces émotions simples et exacerbés. Savez vous ce que signifie"Larks'tongues in Aspic" en français :Langues d'alouette dans la gelée; rien à voir avec la choucroute garnie de chez Cortez comme disait un copain. En effet je ne voie pas le rapport mais je n'ai pas poussé mon analyse très loin aussi. Peut être s'agit il seulement de brouiller les pistes et de démontrer qu'avec ce genre de musique vous ne baignerez jamais dans un univers conventionnel de musique conventionnelle. Un petit rajout au sujet de de la signification du titre suite à une info récente Les langues d'alouette dans la gelée sont une recette de sorcières;

The first time I heard Larks Tongues, it was in the mid 80's on a cassette that had seen better days that my cousin didn't want any more. On the first hearing I didn't like it at all. However as other reviewers have said here, it really starts to grow on you. After a while I bought it on LP but it wasn't until I acquired it on CD and was able to listen to it on a pair of ESL-63s did I realise what a masterpiece it is. You have to listen to it loud though. The dynamic range on the album is huge and the downside of that is you miss the detail of the quiet passages which is why it doen't really work on cassete and even the LP was disappointing... Larks tongues pt 1 eases you into the album with some peaceful marimba like tones before Fripps guitar comes sliding in and then before you know it you are being knocked off your chair by the explosive force of Wettons bass and Brufords powerful drumming. The violin was a strange addition but it works well and adds an interesting dimension. The track jumps around from heavy rock to classical overture effortlessly. Book of Saturday features John Wetton on vocals and he is a little disappointing. Oh for Greg Lake to sing on this instead... It probably the weakest track on the album though. Exiles is also a little disappointing as although it settles down to some nice melodies it doesn't really work that well. However they saved up the best stuff for the second side (of the LP that is). Easy Money leaps out at you. Its the most accessible song on the album and really rocks along with a tune that (for once) you could tap your foot to. Some great sound effects and some interesting 'instruments' from Jamie Muir come through here. When I first heard The Talking Drum I didn't get it at all. A 2 minute percussion solo followed by a highly repetitive bass riff with some improv over the top. How could that be interesting? Well it is. It really serves as a build up to the albums crescendo. I find that you have to listen to the Talking Drum and LTIA pt2 all in one go to get the full effect. To start with the percussion is very quiet so turn up the volume until you can hear it clearly. [I usually warn the rest of my household that I am going to listen to music at this point. They know it's going to get loud]. Gradually the music builds in an unhurried way and with each pass through the decibels climb. Cross's violin weaves in and out then the guitar adds to it. The end of the Talking Drum culminates with an eerie screaming effect that pins you back into your seat before LTIA pt2 comes roaring out at you. And boy does it roar. The sound that the rhythm section generates has to be felt to be believed. The music sounds like it is on the verge of going wildly out of control but somehow doesn't. It has crashing peaks and quiet reflective parts before finally cranking up for the crashing finale. It is so immersive that I always feel out of breath after listening to it - its that good. It is not an easy album to get into. It's very complex but keep on listening to it. Listen to it loud because of the wide dynamics and it will reward you. I would now count this among my all time favourites.

Order arrived earlier than expected in fine condition. Great music. Zero complaints.

De mis álbumes favoritos de Crimson, con su atmósfera oscura y todas sus canciones grandiosas. El vinyl esta en buenas condiciones y con una excelente calidad de sonido.