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King Crimson

February 06, 2023

This article is about the band. For the fictional entity, see Golden Wind.
Not to be confused with Crimson King.

King Crimson were a progressive rock band formed in 1968 in London, England. The band drew inspiration from a wide variety of music, incorporating elements of classical, jazz, folk, heavy metal, gamelan, industrial, electronic, experimental music and new wave. They exerted a strong influence on the early 1970s progressive rock movement, including on contemporaries such as Yes and Genesis, and continue to inspire subsequent generations of artists across multiple genres.[1] The band has earned a large cult following.[2][3]

King Crimson
King Crimson at the Sapporo Culture Arts Theatre in Japan, on December 2, 2018. From left to right: Pat Mastelotto, Tony Levin, Bill Rieflin, Jeremy Stacey, Jakko Jakszyk, Gavin Harrison and Robert Fripp (Mel Collins not shown)
Background information
OriginLondon, England
Genres
Years active
  • 1968–1974
  • 1981–1984
  • 1994–2003
  • 2008–2009
  • 2013–2021
Labels
Spinoffs
Spinoff of
Past members
Websitedgmlive.com

Founded by Robert Fripp, Michael Giles, Greg Lake, Ian McDonald and lyricist Peter Sinfield, the band initially focused on a dramatic sound layered with Mellotron, McDonald's saxophone and flute, and Lake's powerful lead vocals. Their debut album, In the Court of the Crimson King (1969), remains their most commercially successful and influential release, with a potent mixture of jazz, classical and experimental music.[4] Following the sudden simultaneous departures of McDonald and Giles, with Lake also leaving very shortly afterwards, Fripp and Sinfield assumed direction of the group for In the Wake of Poseidon (1970), Lizard (1970), and Islands (1971) with Mel Collins, Boz Burrell and Ian Wallace among the band members during this period. In 1972, Fripp changed the group's instrumentation and approach, drawing from European free improvisation, and developing ever more complex compositions. With Bill Bruford, John Wetton, David Cross and, briefly, Jamie Muir, they reached what some saw as a creative peak on Larks' Tongues in Aspic (1973), Starless and Bible Black (1974), and Red (1974). Fripp disbanded this group in 1974.

In 1981, Fripp and Bruford reformed King Crimson with another change in musical direction. The new group also included Adrian Belew and Tony Levin. They drew influence from African music, gamelan, post-punk and New York minimalism. This group lasted three years, resulting in the trio of albums Discipline (1981), Beat (1982) and Three of a Perfect Pair (1984). Following a decade-long hiatus, Fripp revived the group as a sextet he called the "double trio" in 1994 adding Pat Mastelotto and Trey Gunn. This group participated in another three-year cycle of activity that included the release of Thrak (1995), and multiple concert recordings. There was a hiatus between 1997 to 2000. Four members of the previous sextet reunited in 2000 as a more industrial-oriented King Crimson,[5] called the "double duo", releasing The Construkction of Light (2000) and The Power to Believe (2003). After a five year hiatus, the group expanded (in the person of new second drummer Gavin Harrison) for a 2008 tour celebrating the 40th anniversary of their 1968 formation.

Following another hiatus (2009–2012), during which Fripp was thought to be retired, King Crimson came together again in 2013; this time as a septet (and, later, octet) with an unusual three-drumkit frontline, and new second guitarist and singer Jakko Jakszyk. This version of King Crimson continued to tour from 2014 to 2021, and released multiple live albums, rearranging and reinterpreting music from across the band's entire 50-year career for the first time.

History

Formation

In August 1967, drummer Michael Giles and his bassist brother Peter, pro musicians in working bands since their mid-teens in Dorset, England, advertised for a "singing organist" to join a group they were forming.[6][7] Fellow Dorset musician Robert Fripp – a guitarist who neither played organ nor sang – responded, and Giles, Giles and Fripp was born. The trio recorded several quirky singles and one eclectic album, The Cheerful Insanity of Giles, Giles and Fripp. They hovered on the edge of success, and even made a television appearance, but were never able to make a commercial breakthrough.[6][8][9]

 
Band logo

Attempting to expand their sound, the three recruited Ian McDonald on keyboards, reeds and woodwinds. McDonald brought along two new participants: his then-girlfriend, former Fairport Convention singer Judy Dyble, whose brief tenure with the group ended when the two split,[10][11] and lyricist, roadie, and art strategist Peter Sinfield, with whom he had been writing songs – a partnership initiated when McDonald had said to Sinfield (regarding his band Creation), "Peter, I have to tell you that your band is hopeless, but you write some great words. Would you like to get together on a couple of songs?"[12] Fripp, meanwhile, saw Clouds at the Marquee Club in London which spurred him to incorporate classically inspired melodies into his writing, and utilise improvisation to find new ideas.[13] No longer interested in Peter Giles' more whimsical pop songs, Fripp recommended that his old friend, fellow guitarist and singer Greg Lake could join to replace either Peter or Fripp himself. Peter Giles later called it one of Fripp's "cute political moves".[11] According to Michael Giles, his brother had become disillusioned with the band's lack of success and departed before Fripp suggested Lake to fill Peter Giles' position as bassist and singer.[14][10]

1968–1969: In the Court of the Crimson King

With Fripp, McDonald, Michael Giles and Sinfield joined by Lake, the first incarnation of King Crimson was formed on 30 November 1968. They first rehearsed on 13 January 1969.[10][15] Sinfield coined the band's name in "a moment of pressured panic". Sinfield had already used the term "crimson king" in a set of lyrics before his involvement with Giles, Giles and Fripp. Though King Crimson is often assumed to be a synonym for Beelzebub—prince of demons, Sinfield insisted that a "crimson king" was any ruler during whose reign there were "societal rumblings" and "sort of the dark forces of the world".[16][17] According to Fripp, Beelzebub would be an anglicised form of the Arabic phrase "B'il Sabab", meaning "the man with an aim", to which he related.[18][19] At this early point, McDonald was the primary composer, with vital contributions from Fripp and Lake, while Sinfield wrote all the lyrics on his own, and also designed and operated the band's unique stage lighting, being credited with "words and illumination" on the album sleeve. Inspired by the Moody Blues, McDonald suggested the group purchase a Mellotron keyboard, and this became a key component of the early Crimson sound.[20] Sinfield described the original Crimson thus: "If it sounded at all popular, it was out. So it had to be complicated, it had to be more expansive chords, it had to have strange influences. If it sounded, like, too simple, we'd make it more complicated, we'd play it in 7/8 or 5/8, just to show off".[21]

 
"The Court of the Crimson King" (1969)
37-second sample from King Crimson's "The Court of the Crimson King", demonstrating the sound of the first incarnation of the band, with its classically influenced style and use of the Mellotron instrument.
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King Crimson made their breakthrough on 5 July 1969 by playing the Rolling Stones free concert at Hyde Park, London before an estimated 500,000 people.[22][10] The debut album, In the Court of the Crimson King, was released in October 1969 on Island Records. Fripp would later describe it as having been "an instant smash" and "New York's acid album of 1970" (notwithstanding Fripp and Giles' assertion that the band never used psychedelic drugs).[15] Who guitarist and composer Pete Townshend called the album "an uncanny masterpiece."[23] The album contains Sinfield's gothic lyrics and its sound was described as having "dark and doom-laden visions".[24][25] Its opening track "21st Century Schizoid Man" was described as "proto-metal" and the song's lyrics criticise the military involvement of the United States in Southeast Asia.[1][26] In contrast to the blues-based hard rock of the contemporary British and American scenes, King Crimson presented a more Europeanised approach that blended antiquity and modernity.[27][28] The band's music drew on a wide range of influences provided by all five group members. These elements included classical music, the psychedelic rock spearheaded by Jimi Hendrix, folk, jazz, military music (partially inspired by McDonald's stint as an army musician) and free improvisation.[1][26][28][23]

After playing shows across England, the band toured the US with various pop and rock acts. Their first show was at Goddard College in Plainfield, Vermont. While the band found success and critical acclaim,[29] creative tensions were already developing.[10] Giles and McDonald, still striving to cope with King Crimson's rapid success and the realities of touring life, became uneasy with their musical direction. Although he was neither the dominant composer nor the frontman, Fripp was very much the group's driving force and spokesman, leading them into progressively darker and more intense musical areas. McDonald and Giles, now favouring a lighter and more nuanced romantic style, became increasingly uncomfortable with their position and resigned near the conclusion of the US tour.[11] To keep the band together, Fripp offered to resign himself, but McDonald declared that King Crimson was "more (him) than them" and that he and Giles should therefore be the ones to leave.[30] McDonald later said he "was probably not emotionally mature enough to handle it" and made a "rash decision to leave without consulting anyone".[31] The original line-up played their last show at the Fillmore West in San Francisco on 16 December 1969, a little over one year after forming.[15] Live recordings of the band from 1969 were released in 1997 on Epitaph.

1970–1971: the "interregnum" – In the Wake of Poseidon and Lizard

After their first US tour, King Crimson was in a state of flux with various line-up changes, thwarted tour plans, and difficulties in finding a satisfactory musical direction. This period has subsequently been referred to as the "interregnum" – a nickname implying that the "King" (Crimson) was not properly in place during this time.[11] Fripp became the only remaining musician in the band, with Sinfield expanding his creative role to operating synthesizers.

With Fripp and Sinfield planning for recording the second King Crimson album, In the Wake of Poseidon, the band's management booked Elton John to sing the material as a session musician amidst the uncertainty, but Fripp decided against this idea after listening to his Empty Sky album.[32] Lake did agree to sing all the vocals, but left to form Emerson, Lake and Palmer before he could finish recording "Cadence and Cascade", for which Fripp's old school friend Gordon Haskell was brought in as a guest vocalist.[33][34] Michael Giles was recruited as a session musician. Other musicians who contributed to the recording were Peter Giles playing bass guitar instead of Lake, saxophonist Mel Collins (of the band Circus) and jazz pianist Keith Tippett.[35] Upon its release in May 1970, In the Wake of Poseidon reached No. 4 in the UK and No. 31 in the US. It received some criticism from those who thought it sounded too similar to their first album.[36] With no set band to perform the new material, Fripp and Sinfield invited Mel Collins and Gordon Haskell to join permanently, with Haskell also handling bass as well as vocals, while Andy McCulloch joined the band as drummer. Collins would also act as occasional keyboard player and backing vocalist.[37][35]

Fripp and Sinfield wrote the third album, Lizard, themselves – with Haskell, Collins and McCulloch having no say in the direction of the material. Tippett was brought back as a session player, and offered full band membership as well, but preferred to remain an occasional guest musician.[38] Two members of Tippett's band also played on the album: Mark Charig on cornet, and Nick Evans on trombone. Robin Miller (on oboe and cor anglais) also appeared. Jon Anderson of Yes was brought in to sing a section of the album's title track, "Prince Rupert Awakes", which Fripp and Sinfield considered to be outside Haskell's natural range and style. Lizard featured stronger jazz and chamber-classical influences than previous albums.[11][35] The album contains Sinfield's "phantasmagorical" lyrics, including "Happy Family" (an allegory of the break-up of the Beatles),[39] and the title track, a suite which took up the entire second side, describing a medieval/mythological battle and its outcome.[40]

Released in December 1970, Lizard reached No. 29 in the UK and No. 113 in the US. Described retrospectively as an "outlier",[39] the album had been made by a group in disagreement over method and taste. The more rhythm-and-blues-oriented Haskell and McCulloch both found the music difficult to relate to, and tedious and confusing to record. Collins disliked how his parts were composed, while both Fripp and Haskell detested Sinfield's lyrics.[37] This lineup of the band did not survive much longer than the Lizard recording sessions. Haskell quit the band acrimoniously during initial tour rehearsals after refusing to sing live with distortion and electronic effects on his voice, and McCulloch departed soon after.[10][11] With Sinfield not being a musician and Fripp having seemingly given up on the band, Collins was left to search for new members.[37]

1971–1972: the Islands band

After a search for a drummer to replace McCulloch, Ian Wallace was secured. Fripp was re-energised by the addition of a new member, and he joined Collins and Wallace to audition singers and bassists. Vocalists who tried out included Roxy Music frontman Bryan Ferry and John Gaydon, one of the band's managers.[37][41] The position eventually went to Raymond "Boz" Burrell.[10] John Wetton was invited to join on bass, but declined in order to join Family instead.[42][43] Rick Kemp (later of Steeleye Span) rehearsed with the band, but declined the final offer to formally join.[35] Fripp decided to teach Boz to play bass rather than continue the labored auditions. Though he had not played bass before, Burrell had played enough acoustic guitar to assist him in learning the instrument quickly. Wallace was able to further instruct Burrell in functioning on the instrument in a rhythm section.[44] With a line-up now complete, King Crimson toured in 1971 for the first time since 1969. The concerts were well received, but the musical differences between Fripp and the rest of the group, and the somewhat wilder lifestyles of Collins, Wallace and Burrell alienated the drug-free Fripp, who began to withdraw socially from his bandmates, creating further tension.[37]

In 1971, the new King Crimson formation recorded Islands. Sinfield, who favoured a softer approach, took lyrical inspiration from Homer's Odyssey, musical inspiration from jazz players like Miles Davis and Ahmad Jamal, and a sun-drenched trip to Ibiza and Formentera.[16][45][46] Islands featured the instrumental "Sailor's Tale", with a droning Mellotron and Fripp's banjo-inspired guitar solo; the raunchy, blues-inspired "Ladies of the Road", which featured Wallace and Collins on backing vocals; and "Song of the Gulls", which was developed from an earlier Fripp instrumental ("Suite No. 1" from Giles, Giles & Fripp's 1968 album[47]), and would be the only time the band would utilize an orchestra.[35][48] One of the band members allegedly called Islands as "an airy-fairy piece of shit".[49]

Released in December 1971, Islands charted at No. 30 in the UK and No. 76 in the US. Following a tour of the United States, in December 1971, Fripp informed Sinfield that he could no longer work with him, and asked him to leave the band.[16][45][50][51] In January 1972, the remaining band broke up acrimoniously in rehearsals, owing partially to Fripp's refusal to play a composition by Collins.[37] He later cited this as "quality control", with the idea that King Crimson would perform the "right" kind of music.[11]

In order to fulfil touring contracts in the United States in 1972, King Crimson reformed with the intention of disbanding immediately after the tour.[37] Recordings from various North American dates between January and February 1972 were released as Earthbound in June of that year. The album was noted for its playing style that occasionally veered towards funk, and Burrell's scat singing on the improvised pieces, but was criticised for its sub-par sound quality.[52][53] By this time, the musical rift between Fripp and the rest of the band had grown very wide indeed. Wallace, Burrell and Collins favoured improvised blues and funk. Later Fripp described this lineup at the time, was more of a jam band than an "improvising" band, an opinion with which Wallace disagreed. Personal relations actually improved during the tour to the point where most of the band decided to continue on, however Fripp opted to part company with the other three, restructuring King Crimson with new musicians, as he felt the other members wouldn't be fully engaged in the musical direction he had in mind.[54]

1972–1975: the "European improvisers" – Larks' Tongues in Aspic, Starless and Bible Black, Red, and hiatus

"It was going to be an interesting ride when ... I wasn't given a setlist when I joined the band, more a reading list. Ouspensky, J. G. Bennett, Gurdjieff and Castaneda were all hot. Wicca, personality changes, low-level magic, pyromancy – all this from the magus in the court of the Crimson King. This was going to be more than three chords and a pint of Guinness."

—Bill Bruford.[55]

The third major line-up of King Crimson was radically different from the previous two. Fripp's four new recruits were free-improvising percussionist Jamie Muir, drummer Bill Bruford (who left Yes at a commercial peak in their career in favour of the "darker" Crimson[56]), bassist and vocalist John Wetton, and violinist, keyboardist and flautist David Cross, whom Fripp had met when he was invited to a rehearsal of Waves, a band Cross was working in.[10][57] Most of the musical compositions were collaborations between Fripp and Wetton, who each composed segments independently and fitted together those which they found compatible.[58] With Sinfield gone, the band recruited Wetton's friend Richard Palmer-James (from the original Supertramp) as their new lyricist.[10] Unlike Sinfield, Palmer-James played no part in artistic decisions, visual ideas, or sonic directions; his sole contributions to the group were his lyrics, sent via mail from his home in Germany.[59][60] Following a period of rehearsals, King Crimson resumed touring on 13 October 1972 at the Zoom Club in Frankfurt,[61] with the band's penchant for improvisation (and Muir's startling stage presence) gaining them renewed press attention.[57]

 
"Larks' Tongues in Aspic, Part One" (1973)
An excerpt of "Larks' Tongues in Aspic, Part One", demonstrating the heavy metal influences, complex structure of the music, improvisation, and the percussion of Jamie Muir.
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In January and February 1973, King Crimson recorded Larks' Tongues in Aspic in London which was released that March.[62] The band's new sound was exemplified by the album's two-part title track – a significant change from what King Crimson had done before, the piece emphasised the sharp instrumental interplay of the band, and drew influence from modern classical music, noisy free improv, and even heavy metal riffing. The record displayed Muir's unusual approach to percussion, which included a self-modified drum kit, assorted toys, a bullroarer,[63] mbira, gongs, balloons, thunder sheet and chains. On stage, Muir also employed unpredictable, manic movements, bizarre clothing, and fake blood capsules (occasionally spit or applied to the head), becoming the sole example of such theatrical stage activity in the band's long history.[64][42][65][66] The album reached No. 20 in the UK and No. 61 in the US. After a period of further touring, Muir departed in 1973, quitting the music industry altogether. Muir told King Crimson's management that he had decided a musician's life was not for him, and he had chosen to join a Scottish Buddhist monastery. He offered to serve a period of notice which the management declined. Instead of reiterating Muir's decision, the management informed the band and the public that Muir had sustained an onstage injury caused by a gong landing on his foot.[67][42][57]

With Muir gone, the remaining members reconvened in January 1974 to produce Starless and Bible Black, released in March 1974 and earned them a positive Rolling Stone review.[68][69] Though most of the album was recorded live during the band's late 1973 tour, the recordings were carefully edited and overdubbed to sound like a studio record, with "The Great Deceiver", "Lament" and the second half of "The Night Watch" the only tracks recorded entirely in the studio.[70][71] The album reached No. 28 in the UK and No. 64 in the US. Following the album's release, the band began to divide once more, this time over performance. Musically, Fripp found himself positioned between Bruford and Wetton, who played with such force and increasing volume that Fripp once compared them to "a flying brick wall", and Cross, whose amplified acoustic violin was consistently being drowned out by the rhythm section, leading him to concentrate more on Mellotron and an overdriven electric piano. An increasingly frustrated Cross began to withdraw both musically and personally, with the result being that he was voted out of the group following the band's 1974 tour of Europe and America.[11][72]

 
Fripp performing in 1974

In July 1974, Fripp, Bruford, and Wetton began recording Red.[10] Before recording began, Fripp, now increasingly disillusioned with the music industry, turned his attention to the works of Russian mystic George Gurdjieff and had a spiritual experience in which "the top of my head blew off".[73] Though most of the album had been developed during live improvisations before Fripp retreated into himself and "withdrew his opinion", leaving Bruford and Wetton to direct the recording sessions. The album contains one live track, "Providence", recorded on 30 June 1974 with Cross playing violin. Several guest musicians (including Mel Collins and Ian McDonald) contributed to the album.[74][75] Released on 6 October 1974,[76] Red went to No. 45 in the UK and No. 66 in the US. AllMusic called it "an impressive achievement" for a group about to disband,[77] with "intensely dynamic" musical chemistry between the band members.[78]

Two months before the release of Red, King Crimson's future looked bright (with talks regarding founder member Ian McDonald rejoining the group). However, Fripp wished not to tour as he felt increasingly disenchanted by the group and the music industry. He also felt the world was going to drastically change by 1981 and that he had to prepare for it.[79][74] Despite a band meeting while touring the US in which Fripp expressed a desire to end the band,[80] the group did not formally disband until 25 September 1974 and later Fripp announced that King Crimson had "ceased to exist" and was "completely over for ever and ever".[10][81] It was later revealed that Fripp had attempted to interest his managers in a King Crimson with McDonald (but without him), but this idea was rejected.[82][83] Following the band's disbanding, the live album USA was released in May 1975, formed of recordings from their 1974 North American tour. It received some positive reviews,[53] including "a must" for fans of the band and "insanity you're better off having".[84][85] Issues with the tapes rendered some of Cross' playing inaudible, so Eddie Jobson was hired to perform violin and keyboard overdubs in a studio; further edits were also made to allow the music to fit on a single LP.[86] Between 1975 and 1981, King Crimson were completely inactive.

1981–1984: the "rock gamelan" – Discipline, Beat, Three of a Perfect Pair, and second hiatus

 
Later versions of Discipline featured this knotwork design by Steve Ball.

In the late autumn of 1980, having spent several years on spiritual pursuits and then gradually returning to music (playing guitar for David Bowie, Peter Gabriel and Daryl Hall, pursuing an experimental solo career, leading instrumental new wave band The League of Gentlemen), Fripp decided to form a new "first division" rock group, but had no intentions of it being King Crimson.[87] Having recruited Bill Bruford as drummer, Fripp asked singer and guitarist Adrian Belew to join,[88] the first time Fripp would actively seek collaboration with another guitarist in a band and therefore indicative of Fripp's desire to create something unlike any of his previous work.[89] After touring with Talking Heads, Belew agreed to join and also become the band's lyricist. Bruford's suggestion of his bassist Jeff Berlin was rejected as Fripp thought his playing was "too busy",[90] so auditions were held in New York: on the third day, Fripp left after roughly three auditions, only to return several hours later with Tony Levin (who got the job after playing a single chorus of "Red").[55] Fripp later confessed that, had he known that Levin (whom Fripp had played with in Peter Gabriel's group) was available and interested, he would have selected him without holding auditions. Fripp named the new quartet Discipline, and they went to England to rehearse and write new material. They made their live debut at Moles Club in Bath, Somerset on 30 April 1981, and completed a short tour supported by the Lounge Lizards.[91][92][93] By October 1981, the band had opted to change their name to King Crimson.[10]

 
"The Sheltering Sky" (1981)
An excerpt of "The Sheltering Sky" (1981), showing gamelan influences, Bruford's use of an African slit drum, and Fripp and Belew's use of a guitar synthesiser, a staple of much of their 1980s albums.
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In 1981, King Crimson recorded Discipline with producer Rhett Davies. The album displayed a very different version of the band, with newer influences including post-punk, new wave, funk, minimalism, pointillism, world music and African percussion.[94][95][96][97] With a sound described in The New Rolling Stone Album Guide as having a "jaw-dropping technique" of "knottily rhythmic, harmonically demanding workouts".[78] The title track "Discipline" was described as a postminimalist rock song.[98] Fripp intended to create the sound of a "rock gamelan", with an interlocking rhythmic quality to the paired guitars that he found similar to Indonesian gamelan ensembles.[99] Fripp concentrated on playing complex picked arpeggios, while Belew provided an arsenal of guitar sounds that "often mimic animal noises".[100][101] In addition to bass guitar, Levin used the Chapman Stick, a ten-string two-handed tapping, hybrid guitar and bass instrument which he played in an "utterly original style".[102][103][104] Bruford experimented with cymbal-less acoustic kits and a Simmons SDS-V electronic drum kit. The band's songs were shorter in comparison to previous King Crimson albums, and very much shaped by Belew's pop sensibilities and quirky approach to writing lyrics. Though the band's previous taste for improvisation was now tightly reined in, one instrumental ("The Sheltering Sky") emerged from group rehearsals; while the noisy, half-spoken/half-shouted "Indiscipline" was a partially written, part-improvised piece created in order to give Bruford a chance to escape from the strict rhythmic demands of the rest of the album.[11] Released in September 1981, Discipline reached No. 41 in the UK and No. 45 in the US.

In June 1982, King Crimson followed Discipline with Beat, the first King Crimson album recorded with the same band line-up as the album preceding it.[105] Beat is the only album where Fripp had no involvement in the original mixing; Davies and Belew undertook production duties.[106][107] The album had a linked theme of the Beat Generation and its writings, reflected in song titles such as "Neal and Jack and Me" (inspired by Neal Cassady and Jack Kerouac), "Heartbeat" (inspired by Carolyn Cassady's "Heart Beat: My Life with Jack and Neal"), "The Howler" (inspired by Allen Ginsberg's "Howl") and "Waiting Man" (inspired by William Burroughs). The album contained themes of life on the road, existential angst and romanticism.[108][109][110] While Beat was more accessible,[111] it had the improvised "Requiem", which featured Frippertronics, a guitar technique invented by Brian Eno and Robert Fripp using a tape loop system.[112]

Recording Beat was faced with tension with Belew suffering high stress levels over his duties as front man, lead singer, and principal songwriter. On one occasion, he clashed with Fripp and ordered him out of the studio.[113][106] As Beat reached No. 39 in the UK and No. 52 in the US, King Crimson resumed touring. "Heartbeat" was released as a single which peaked at No. 57 on the Billboard Mainstream Rock chart. Around this time the band released the VHS-only '"The Noise: Live in Frejus", a record of a show played at the Arena, Frejus, France on 27 August 1982. This video is on DVD as part of the compilation Neal and Jack and Me and On (and off) The Road (1981–1984).

King Crimson's next album, Three of a Perfect Pair, was recorded in 1983 and released in March 1984. Having encountered difficulty in both writing and determining a direction for the album, the band chose to record and call the album's first half a "left side" – four of the band's poppier songs plus an instrumental – and the second half a "right side" – experimental work, improvisations that drew influence from industrial music,[114] plus the third part of the "Larks' Tongues in Aspic" series of compositions. The stress during the writing process and the tension between the band members manifested in both lyrical content and music, and the result is a "nerve-racking" album.[100][115][116][117] The 2001 remaster of the album included the "other side", a collection of remixes and improvisational out-takes plus Levin's humorous song, "The King Crimson Barbershop".[118][119] Three of a Perfect Pair peaked at No. 30 in the UK and No. 58 in the US, with "Three of a Perfect Pair" and "Sleepless" being released as singles. The last concert of the Three of a Perfect Pair tour, at the Spectrum in Montreal, Canada on 11 July 1984, was recorded and released in 1998 as Absent Lovers: Live in Montreal.[120] Despite their conflict, the musicians remained professional on stages.[103]

"Robert broke up the group, again, for the umpteenth time, dwelling at length, I suppose, on our lack of imagination, ability, direction and a thousand other things we were doubtless missing. I suppose this only because I remember not listening to this litany of failures. Might as well quit while you're ahead, I thought."

—Bill Bruford on the band's 1984 disbanding.[55]

Following the 1984 tour, Fripp dissolved King Crimson for the second time, exactly ten years after dissolving the previous group. Bruford and Belew expressed some frustration over this; Belew recalled the first he had heard of the split was when he read about it in a report in Musician magazine.[121][122]

1994–1999: the Double Trio – Vrooom, THRAK, and the ProjeKcts

In the summer of 1991, Belew met with Fripp in England to express an interest in reviving King Crimson.[123] One year later, Fripp established his Discipline Global Mobile (DGM) record label with producer David Singleton. Subsequently, DGM would be the primary home for Fripp's work, with larger album releases distributed to bigger record companies (initially Virgin records), and smaller releases handled by DGM. This afforded Fripp and his associates greater creative freedom and more control over all aspects of their work.[124]

In late 1991, Fripp asked former Japan singer David Sylvian to join the new King Crimson band, but Sylvian declined the offer, though the two collaborated as Sylvian/Fripp.[125] In June 1993, Fripp began to assemble a larger version of the band, joined by Belew and Levin from the 1980s quartet, Chapman Stick player Trey Gunn (a veteran of Fripp's Guitar Craft courses[126]) and drummer Jerry Marotta,[127][64][128] with whom Fripp had played with Peter Gabriel.[129] After Sylvian/Fripp's closing concerts at the Royal Albert Hall in December 1993,[125][130] a tour that Marotta didn't participate in, Fripp decided to ask the tour's drummer Pat Mastelotto to join instead of Marotta.[128] Bruford wound up being the last of the 1980s group to return to the band.[64] Fripp explained that he had a vision of a "Double Trio" with two drummers while driving along the Chalke Valley one afternoon in 1992.[102][123] Bruford later said he lobbied Fripp last minute because he believed that Crimson was very much "his gig", and that Fripp had come up with a philosophical explanation for utilizing both Mastelotto and himself later. One of the conditions Fripp imposed upon Bruford if he were to return was to give up all creative control to Fripp.[55]

Following rehearsals in Woodstock, New York, the group released the extended play Vrooom in October 1994. This revealed the new King Crimson sound, which featured the interlocking guitars of the 1980s mixed with the layered, heavier feel of the 1970s period.[131][failed verification] There was also a distinct influence from the industrial music of that time.[132][133] Many of the songs were written or finalised by Belew, and displayed stronger elements of 1960s pop than before; in particular, a Beatles influence.[134] Bruford would refer to the band as sounding like "a dissonant Shadows on steroids".[55] As with previous line-ups, new technology was utilised, including MIDI, which Fripp used to convert Frippertronics to digital version of it called "Soundscapes",[124][135][136] and the versatile Warr tap guitar with which Gunn replaced his Stick in 1995.[137] King Crimson toured the album from 28 September 1994 in Buenos Aires, Argentina; portions of these concerts were released on the double live CD set B'Boom: Live in Argentina in 1995.

"The meaning of THRAK ... the first one is: a sudden and precise impact moving from direction and commitment in service of an aim ... The second definition is: 117 guitars almost hitting the same chord simultaneously. So, the album THRAK, what is it? 56 minutes and 37 seconds of songs and music about love, dying, redemption and mature guys who get erections."

—Robert Fripp's press release for THRAK and the sleeve notes to VROOOM VROOOM[138][18]

In October and December 1994, King Crimson recorded their eleventh studio album, THRAK.[131] Formed mostly of revised versions of the tracks from Vrooom, plus new tracks, the album was described by Q magazine as having "jazz-scented rock structures, characterised by noisy, angular, exquisite guitar interplay" and an "athletic, ever-inventive rhythm section,"[139] while being in tune with the sound of alternative rock of the mid-1990s.[140] Examples of the band's efforts to integrate their multiple elements could be heard on the accessible (but complex) songs "Dinosaur" and "Sex Sleep Eat Drink Dream", the more straightforward ballad "One Time", as well as "Radio I" and "Radio II"- a pair of Fripp's Soundscapes instrumentals.[134]

King Crimson resumed touring in 1995 and into 1996; dates from October and November 1995 were recorded and released on the live album Thrakattak in May 1996, which is an hour of improvised music integrating sections from performances from the "THRAK" tour in the United States and Japan, mixed and arranged by Fripp's DGM partner, engineer David Singleton.[141][142][18] A more conventional live recording from the period was later made available as the double CD release Vrooom Vrooom (2001), as was a full 1995 concert on the Déjà Vrooom DVD (2003).

Writing rehearsals began in May 1997 in Nashville, Tennessee. Fripp was dissatisfied with the quality of the new music being developed by the band; Longstanding friction and disagreements between himself and Bruford led to the latter deciding to leave King Crimson for good. The resulting bad atmosphere and the lack of workable material almost broke the band up altogether. Instead, the six members opted to work in four smaller groups (or "fraKctalisations", as Fripp called them) known as ProjeKcts. This enabled the group to continue developing ideas and searching for a new direction without the practical difficulty (and expense) of convening all six musicians at once. From 1997 to 1999, the first four ProjeKcts played live in the United States and the United Kingdom, and released recordings that showed a high degree of free improvisation, with influences ranging from jazz, industrial, techno and drum'n'bass.[143][144] These have been collectively described by music critic J. D. Considine as "frequently astonishing" but lacking in melody.[78] After Bruford had played four dates with Projekct One in December 1997, he left King Crimson to resume working with his own jazz group Earthworks.[144]

2000–2003: the Double Duo – The Construkction of Light, The Power to Believe, third hiatus

In October 1999, King Crimson began to reconvene.[145] Tony Levin was busy working as a session musician and decided to take a hiatus from the group, so the remaining members (Fripp, Belew, Gunn and Mastelotto) formed the "Double Duo" to write and record The Construkction of Light in Belew's basement studio and garage near Nashville.[144][146][147] Released in May 2000, the album reached No. 129 in the UK. Most of the pieces were metallic, harsh and industrial in sound.[5] They featured a distinct electronic texture, a heavily processed electric drum sound from Mastelotto, Gunn taking over the bass role on Warr Guitar, and a different take on the interlocking guitar sound that the band had pioneered in the 1980s.[144] With the exception of an industrial blues (sung by Belew through a voice changer under the pseudonym of "Hooter J. Johnson"), the songs were dense and complex.[148][2][149] The album contains the fourth installment of "Larks' Tongues in Aspic". It received a negative reception for lacking new ideas.[150] The band recorded an album of improvised instrumentals at the same time, and released them under the name ProjeKct X, on the CD Heaven and Earth.[151]

King Crimson toured to support both albums, including double bill shows with Tool.[152] The tour was documented in Heaven & Earth (box set).[153] Led Zeppelin bassist John Paul Jones and his band supported Crimson on some live shows.[154]

On 9 November 2001, King Crimson released a limited edition live extended play called Level Five,[155] featuring three new pieces: "Dangerous Curves", "Level Five" and "Virtuous Circle", plus versions of "The Construkction of Light" and ProjeKct's "The Deception of the Thrush", followed by an unlisted track called "ProjeKct 12th and X" after one minute of silence.[156] A second EP followed in October 2002, Happy with What You Have to Be Happy With. This featured eleven tracks (including a live version of "Larks' Tongues in Aspic, Part IV"). Half of the tracks were processed vocal snippets by Belew, and the songs themselves varied between Soundscapes, gamelan, heavy metal and blues.[144][157]

 
The band performing in 2003
Left to right: Trey Gunn, Adrian Belew, and Robert Fripp (Pat Mastelotto is hidden)

King Crimson released their thirteenth album, The Power to Believe, in March 2003.[158] Fripp described it as "the culmination of three years of Crimsonising".[159] The album incorporated, reworked and retitled versions of "Deception of the Thrush" ("The Power to Believe III"); tracks from their previous two EPs; and an extract from a Fripp Soundscape with added instrumentation and vocals.[144][160] The Power to Believe reached No. 162 in the UK and No. 150 in the US. King Crimson toured in 2003 to support the album; recordings from it were used for the live album EleKtrik: Live in Japan. 2003 also saw the release of the DVD Eyes Wide Open, a compilation of the band's shows Live at the Shepherds Bush Empire (London, 3 July 2000) and Live in Japan (Tokyo, 16 April 2003).

In November 2003, Gunn left the group to pursue solo projects and was replaced by the returning Tony Levin.[161][162] The band reconvened in early 2004 for rehearsals, but nothing developed from these sessions. They went on another hiatus.[146][10] At this point, Fripp was publicly reassessing his desire to work within the music industry, often citing the unsympathetic aspects of the life of a touring musician, such as "the illusion of intimacy with celebrities".[163][164][165]

 
Belew performing in 2006

On 21 September 2006, former King Crimson member Boz Burrell died of a heart attack,[166] followed by another former member, Ian Wallace, who died of esophageal cancer on 22 February 2007.[167]

2008: The second quintet and 40th Anniversary tour

A new King Crimson formation was announced in 2007: Fripp, Belew, Levin, Mastelotto, and a new second drummer, Gavin Harrison.[10] In August 2008, after a period of rehearsals, the five completed the band's 40th Anniversary Tour. The setlists featured no new material, drawing instead from the existing mid '70s era/Discipline-era/Double Trio/Double Duo repertoire.[144][168] Additional shows were planned for 2009, but were cancelled due to scheduling clashes with Belew.[169][170]

King Crimson began another hiatus after the 40th Anniversary Tour.[171][172] Belew continued to lobby for reviving the band, and discussed it with Fripp several times in 2009 and 2010. Among Belew's suggestions was a temporary reunion of the 1980s line-up for a thirtieth anniversary tour: an idea declined by both Fripp and Bruford, the latter commenting "I would be highly unlikely to try to recreate the same thing, a mission I fear destined to failure.[173][174][175] In December 2010, Fripp wrote that the King Crimson "switch" had been setting to "off" since October 2008, citing several reasons for this decision.[176]

2014–2021: the "Seven-Headed Beast" and "Three Over Five" lineups

In 2011, a band called Jakszyk, Fripp and Collins (and subtitled "A King Crimson ProjeKct") released an album called A Scarcity of Miracles. The band featured guitarist and singer Jakko Jakszyk, Fripp and former Crimson saxophonist Mel Collins as the main players/composers, with Tony Levin playing bass and Gavin Harrison playing drums. At one point, Fripp referred to the band as "P7" (ProjeKct Seven).[176] Unusually for a ProjeKct, it was based around "finely crafted" and "mid-paced" original songs derived from improvised sessions.[177][178] In August 2012, Fripp announced his retirement from the music industry, leaving the future of King Crimson uncertain.[179]

In September 2013, Fripp announced King Crimson's return to activity with a "very different reformation to what has gone before: seven players, four English and three American, with three drummers".[179] He cited several reasons to make a comeback, varying from the practical to the whimsical: "I was becoming too happy. Time for a pointed stick."[180][181] The new line-up drew from both the previous lineup (retaining Fripp, Levin, Harrison and Mastelotto) and the Scarcity of Miracles project (Jakszyk and Collins), with Guitar Craft alumnus and former R.E.M./Ministry drummer Bill Rieflin as the seventh member.[10][182] Adrian Belew was not asked to take part, thus ending his 32-year tenure in King Crimson: Jakszyk took his place as singer and second guitarist.[183] This version of the group took on the nickname of "the Seven-Headed Beast".[82]

In early 2014, King Crimson had no plans to record in the studio, instead playing "reconfigured" versions of past material.[184] For the first time since 1974, the band's repertoire included songs from the run of albums between In The Court of the Crimson King and Larks' Tongues in Aspic, as well as including instrumentals from THRAK and The Power to Believe. After rehearsing in England, they toured North America from 9 September to 6 October.[185][186][187] Recordings from the Los Angeles dates were released as Live at the Orpheum.

Tours across Europe, Canada, and Japan followed in the later half of 2015.[188] A live recording from the Canadian leg of the tour was released as Live In Toronto. A European tour was planned for 2016. Following Rieflin's decision to take a break from music, drummer Jeremy Stacey of Noel Gallagher's High Flying Birds was called in place for dates from September.[189]

On 7 December 2016, founding King Crimson member Greg Lake died of cancer.[190] Another former King Crimson member, John Wetton, died of colon cancer on 31 January 2017.[191]

On 3 January 2017, Bill Rieflin returned to King Crimson.[192] Since the band wished to retain Jeremy Stacey, Fripp called the new lineup the "Double Quartet Formation", referencing four drummers.[193] Consequently, King Crimson became an octet. Later on, Rieflin shifted his group role and became King Crimson's first full-time keyboard player, Fripp rechristened the lineup the "Three Over Five" (or "Five Over Three") Formation.[194][195]

On 2 June 2017, King Crimson released a new live EP named "Heroes" (after the David Bowie song), as a tribute to both the artist and the album featuring the song in question, both of which featured distinctive Robert Fripp guitar contributions throughout.[196] The video to the song won "Video of the Year" at the 2017 Progressive Music Awards.[197] Shortly afterwards, King Crimson embarked on a United States tour beginning on 11 June and ending on 26 November.[198][199] On 3 September, Robert Fripp said that his differences with Adrian Belew had been resolved and that there were "no current plans for (him) to come out with the current formation" but "the doors to the future are open." Belew confirmed this, adding "it means I may be back in the band in the future at some point."[3][200] On 13 October, it was announced that Bill Rieflin would be unable to join the Three Over Five Formation on the 2017 Autumn tour in the U.S. He was temporarily replaced by Seattle-based Crafty Guitarist Chris Gibson.[201] During 2018, King Crimson performed the extensive 33-date Uncertain Times tour through the UK and Europe between 13 June and 16 November.[202]

On 6 April 2019, it was announced at a press conference that Rieflin would take another break from King Crimson to attend to family matters, his place on keyboards for the 2019 50th anniversary tour would be taken by Theo Travis, better known as a saxophonist, Soft Machine member and occasional duo collaborator with Robert Fripp.[82][83] Although Travis joined the band for rehearsals, Fripp said on 2 May that the band had decided that it was no longer possible to have other musicians deputising for Rieflin and for this reason were "proceed(ing) as a Seven-Headed Beast" without Travis.[203] Rieflin's parts were divided among other band members, with Fripp, Stacey, Jakszyk and Collins adding keyboards to their on-stage rigs, and Levin once again using the synthesizer he used during the '80s tours.[204][205] Soon after on 11 June, King Crimson's entire discography was made available to stream online on all the major streaming platforms, as part of the band's 50th anniversary celebration.[206]

On 24 March 2020, Bill Rieflin died of cancer.[207] In the same year, former member Gordon Haskell died of lung cancer on 15 October.[208]

The band toured North America and then Japan in 2021.[209] Recordings from Washington, D.C. and Albany, New York dates were released as Music is our Friend.[210][211] Because of the rising cost of services during the pandemic and old age, they took another hiatus, with no intentions for any more tours.[212][213] The band has ceased activity. Levin said in a late 2022 interview that, "the sense I got from Robert [Fripp] was that it's over. Maybe King Crimson will speak to him in the future in some way, and will revive its head with who-knows-what line up?"[214]

On 9 February 2022, founding King Crimson member Ian McDonald died of cancer.[31]

Former member cover bands

Since the early 2000s, several bands containing former, recent or current King Crimson members have toured and recorded, performing King Crimson music.

Active between 2002 and 2005, the 21st Century Schizoid Band reunited several former King Crimson members who had played on the band's first four albums. The band featured Ian McDonald, Mel Collins, Peter Giles and Michael Giles (the latter subsequently replaced by Ian Wallace[215]), and was fronted by Jakko Jakszyk, a decade prior to his own recruitment into King Crimson. The band engaged in several tours, played material from King Crimson's '60s and '70s catalogue, and recorded several live albums. The band disbanded upon Wallace's death in 2007.[216][217]

Since 2007, Tony Levin has led the trio Stick Men, which also features Pat Mastelotto. The band was initially completed by Chapman Stick player Michael Bernier, replaced in 2010 by touch guitarist and former Fripp student Markus Reuter.[218][219] This band includes (and reinterprets) King Crimson compositions in their live sets.[220] Previously called "Tuner", Reuter and Mastelotto also play together as a duo, for which they have been known to rework the mid-1980s King Crimson instrumental "Industry" live.[221]

Between 2011 and 2014, Stick Men and Adrian Belew's Power Trio band (Belew plus drummer Tobias Ralph and bass player Julie Slick[222]) joined forces to play and tour as The Crimson ProjeKCt, covering the music made during the '80s and '90s.[169][223] The two groups performed together from time to time, usually under names like "Belew, Levin, Mastelotto and friends".[224]

During his solo career, including performances with the Power Trio, Adrian Belew has performed various versions of King Crimson songs.[225][226][227]

Musical style

King Crimson have been described musically as progressive rock,[10] art rock,[228] and post-progressive,[229] with their earlier works being described as proto-prog.[230] Their music was initially grounded in the rock of the 1960s, especially the acid rock and psychedelic rock movements. The band played Donovan's "Get Thy Bearings" in concert,[231] and were known to play the Beatles' "Lucy in the Sky with Diamonds" in their rehearsals.[232] However, for their own compositions, King Crimson (unlike the rock bands that had come before them) largely stripped away the blues-based foundations of rock music and replaced them with influences derived from classical composers. The first incarnation of King Crimson played the Mars section of Gustav Holst's suite The Planets live and later the band used Mars as a foundation for the song "Devil's Triangle".[233][234] As a result of this influence, In the Court of the Crimson King is frequently viewed as the nominal starting point of the progressive rock movements.[235] King Crimson also initially displayed strong jazz influences, most obviously on its signature track "21st Century Schizoid Man".[1][236] The band also drew on English folk music for compositions such as "Moonchild"[237] and "I Talk to the Wind."[236][237] In the 1972 lineup, Fripp's intention was to combine the music of Jimi Hendrix, Igor Stravinsky and Béla Bartók.[238][23]

The 1981 reunion of the band brought in even more elements, displaying the influence of funk, post-punk, new wave, gamelan music and late 20th century classical composers such as Philip Glass, Steve Reich, and Terry Riley.[239][91][5] For its 1994 reunion, King Crimson reassessed both the mid-1970s and 1980s approaches in the light of new technology, intervening music forms such as electronica, drum'n'bass and techno;[144] and further developments in industrial music, as well as expanding the band's ambient textural content via Fripp's Soundscapes looping approach.

The 2013 version of the band returned, for the most part, to the band's 1960s and 1970s influences and repertoire but addressed them via current technology and rearrangements suited to a larger ensemble of more experienced musicians, while also incorporating the New Standard Tuning used by Fripp since 1984.[citation needed]

Compositional approaches

Several King Crimson compositional approaches have remained constant from the earliest versions of the band to the present. These include:

  • The use of a gradually building rhythmic motif.[240] These include "The Devil's Triangle" (an adaptation and variation on the Gustav Holst piece Mars played by the original King Crimson, based on a complex pulse in 5
    4     time over which a skirling melody is played on a Mellotron), 1973's "The Talking Drum" (from Larks' Tongues in Aspic), 1984's "Industry" (from Three of a Perfect Pair) and 2003's "Dangerous Curves" (from The Power to Believe).[241]
  • An instrumental piece (often embedded as a break in a song) in which the band plays an ensemble passage of considerable rhythmic and polyrhythmic complexity.[242] An early example is the band's initial signature tune "21st Century Schizoid Man", but the "Larks' Tongues in Aspic" series of compositions (as well as pieces of similar intent such as "THRAK" and "Level Five") go deeper into polyrhythmic complexity, delving into rhythms that wander into and out of general synchronisation with each other, but that all 'finish' together through polyrhythmic synchronisation. These polyrhythms were particularly abundant in the band's 1980s work, which contained gamelan-like rhythmic layers and continual overlaid staccato patterns in counterpoint.
  • The composition of difficult solo passages for individual instruments, such as the guitar break on "Fracture" on Starless and Bible Black.[243]
  • The juxtaposition of ornate tunes and ballads with unusual, often dissonant noises (such as "Cirkus" from Lizard, "Ladies of the Road" from Islands and "Eyes Wide Open" from The Power to Believe).
  • The use of improvisation.
  • Ascending note structure (e.g. "Facts of Life" and "THRAK").

Improvisation

"We're so different from each other that one night someone in the band will play something that the rest of us have never heard before and you just have to listen for a second. Then you react to his statement, usually in a different way than they would expect. It's the improvisation that makes the group amazing for me. You know, taking chances. There is no format really in which we fall into. We discover things while improvising and if they're really basically good ideas we try and work them in as new numbers, all the while keeping the improvisation thing alive and continually expanding."

—King Crimson violinist David Cross on the mid-1970s band's approach to improvisation.[244]

King Crimson have incorporated improvisation into their performances and studio recordings from the beginning, some of which has been embedded into pieces such as "Moonchild", "Providence", "Requiem" and "No Warning",[245] including passages of restrained silence, as with Bill Bruford's contribution to the improvised "Trio".[246] Rather than using the standard jazz or rock "jamming" format for improvisation (in which one soloist at a time takes centre stage while the rest of the band lies back and plays along with established rhythm and chord changes), King Crimson improvisation is musicians collectively making creative decisions and contributions as the music is being played. Individual soloing is largely eschewed; each musician is to listen to each other and to the group sound, to be able to react creatively within the group dynamic. Fripp has used the metaphor of "magic" to describe this process, in particular when the method works particularly well.[244][247]

Similarly, King Crimson's improvised music is varied in sound and the band has been able to release several box sets and albums consisting mostly or entirely of improvised music,[248] such as the THRaKaTTaK album,[141] and the band's series of ProjeKcts.[143] Occasionally, particular improvised pieces will be recalled and reworked in different forms at different shows, becoming more and more refined and eventually appearing on official studio releases.[65][144]

Influence and legacy

King Crimson have been influential both on the early 1970s progressive rock movement and numerous contemporary artists. Genesis and Yes were directly influenced by the band's usage of the mellotron,[249][1] and many King Crimson band members were involved in other notable bands: Lake in Emerson, Lake & Palmer; McDonald in Foreigner; Burrell in Bad Company, and Wetton in U.K. and Asia. Canadian rock band Rush's drummer Neil Peart credited the adventurous and innovative style of Michael Giles on his own approach to percussion.[250]

King Crimson's influence extends to many bands from diverse genres, especially of the 1990s and 2000s. Kurt Cobain, the frontman of the grunge band Nirvana, had stated that the album Red had a major influence on the sound of their final studio album In Utero.[23] Tool are known to be heavily influenced by King Crimson,[152][251] with vocalist Maynard James Keenan joking on a tour with them: "Now you know who we ripped off. Just don't tell anyone, especially the members of King Crimson."[252] Modern progressive, experimental, psychedelic and indie rock bands have cited them as an influence as well, including the Mars Volta,[253][254] Primus,[255][256] Mystery Jets,[257][258] Fanfarlo,[259] Phish,[260] and Anekdoten, who first practiced together playing King Crimson songs.[261] Steven Wilson, the leader of Porcupine Tree, was responsible for remixing King Crimson's back catalogue in surround sound and said that the process had an enormous influence on his solo albums,[262] and his band was influenced by King Crimson.[263] In November 2012 the Flaming Lips in collaboration with Stardeath and White Dwarfs released a track-by-track reinterpretation of In the Court of the Crimson King entitled Playing Hide and Seek with the Ghosts of Dawn.[264] Colin Newman, of Wire, said he saw King Crimson perform many times, and that they influenced him deeply.[265] The seminal hardcore punk group Black Flag acknowledge Wetton-era King Crimson as an influence on their experimental period in the mid-1980s.[266] Melvin Gibbs said that the Rollins Band was influenced most by King Crimson, using similar chords.[267][268] Bad Religion cites the lyrics of "21st Century Schizoid Man" on their single "21st Century (Digital Boy)" and the name of their record label, Epitaph (founded by their guitarist Brett Gurewitz), comes from the song of the same name on Crimson's debut album.[269] Living Colour guitarist Vernon Reid considered Robert Fripp as one of his guitar influences.[270]

King Crimson have frequently been cited as pioneers of progressive metal[271][272] and as an influence on bands of this genre, including Opeth,[273] Mastodon,[274][275] Between the Buried and Me,[276][277] Leprous,[278][279] Haken,[280] the Ocean,[281] Caligula's Horse,[282] Last Chance to Reason,[283] and Indukti.[284] Members of metal bands Mudvayne,[285] Voivod,[286] Enslaved,[287][288] Yob,[289] Pyrrhon,[290] and Pallbearer[291] have cited King Crimson as an influence. Heavy experimental and avant-garde acts like the Dillinger Escape Plan,[292] Neurosis,[293] Zeni Geva,[294] Ancestors,[295] and Oranssi Pazuzu[296] all cite King Crimson's influence.

Other artists affected by King Crimson include video game composer Nobuo Uematsu,[297][298] noise music artist Masami Akita of Merzbow,[299] jazz guitarist Dennis Rea of Land,[300] folktronica exponent Juana Molina,[301] hip hop producer RJD2,[302] hip hop and soul composer Adrian Younge,[303] film director Hal Hartley,[304] and folk-pop singer Ian Kelly.[305]

Members

Main article: List of King Crimson members

Final lineup

  • Robert Fripp – guitar, keyboards, mellotron, electronics (1968–1974, 1981–1984, 1994–2003, 2008–2009, 2013–2021)
  • Mel Collins – saxophones, flute, bass flute, clarinet, bass clarinet, mellotron, backing vocals (1970–1972, 2013–2021)
  • Tony Levin – bass, Chapman stick, synthesisers, backing vocals (1981–1984, 1994–1998, 2003, 2008–2009, 2013–2021)
  • Pat Mastelotto – drums, percussion, programming (1994–2003, 2008–2009, 2013–2021)
  • Gavin Harrison – drums, percussion (2008–2009, 2013–2021)
  • Jakko Jakszyk – lead vocals, guitar, flute, keyboards (2013–2021)
  • Jeremy Stacey – drums, keyboards, backing vocals (2016–2021)

Former members

  • Michael Giles – drums, percussion, backing vocals (1968–1969)
  • Ian McDonald – saxophone, flute, clarinet, bass clarinet, keyboards, mellotron, vibraphone, backing vocals (1968–1969) (died 2022)
  • Peter Sinfield – lyrics, lighting, synthesizer (1968–1971)
  • Greg Lake – bass, lead vocals (1968–1970) (died 2016)
  • Gordon Haskell – bass, lead vocals (1970) (died 2020)
  • Andy McCulloch – drums (1970)
  • Ian Wallace – drums, percussion, backing vocals (1970–1972) (died 2007)
  • Boz Burrell – bass, lead vocals (1971–1972) (died 2006)
  • John Wetton – bass, lead vocals (1972–1974) (died 2017)
  • Jamie Muir – percussion (1972–1973)
  • Bill Bruford – drums, percussion (1972–1974, 1981–1984, 1994–1997)
  • David Cross – violin, viola, keyboards (1972–1974)
  • Adrian Belew – guitar, lead vocals, drums and percussion (1981–1984, 1994–2003, 2008–2009)
  • Trey Gunn – Warr guitar, Chapman stick, backing vocals, bass (1994–2003)
  • Bill Rieflin – keyboards, synthesizer, mellotron, drums, percussion (2013–2020) (died 2020); inactive (autumn to winter 2016, autumn 2017, 2019 to 2020)

Discography

Main article: King Crimson discography

Citations

  1. ^ a b c d e Shteamer, Hank (1 October 2019). "King Crimson's '21st Century Schizoid Man': Inside Prog's Big Bang". Rolling Stone. Retrieved 7 February 2021.
  2. ^ a b Niester, Alan (27 November 2000). "In the court of the Crimson fanatics". The Globe and Mail. Retrieved 14 March 2021.
  3. ^ a b Shteamer, Hank (15 April 2019). "The Crimson King Seeks a New Court". Rolling Stone. Retrieved 19 March 2021.
  4. ^ Buckley 2003, p. 477, "Opening with the cataclysmic heavy-metal of "21st Century Schizoid Man", and closing with the cathedral-sized title track,"
  5. ^ a b c Freeman, Phil (10 October 2019). "A Tribute To In The Court Of The Crimson King, Released 50 Years Ago Today". stereogum.com. Retrieved 7 February 2021.
  6. ^ a b Eder, Bruce. "Giles, Giles and Fripp". AllMusic. Retrieved 8 August 2007.
  7. ^ "Interview with Robert Fripp". Musician magazine (archived page from elephant-talk.com). August 1984. Retrieved 15 March 2021.
  8. ^ Planer, Lindsay. "The Cheerful Insanity of Giles, Giles & Fripp". allmusic.com. Retrieved 25 January 2021.
  9. ^ Smith, Sid (30 November 2005). "Digging Giles, Giles & Fripp". dgmlive.com. Retrieved 17 March 2021.
  10. ^ a b c d e f g h i j k l m n o p Eder, Bruce. "King Crimson Biography". AllMusic. Retrieved 19 August 2007.
  11. ^ a b c d e f g h i Smith, Sid (2002). In The Court of King Crimson. Helter Skelter Publishing. Retrieved on 12 June 2009.
  12. ^ "Interview with Peter Sinfield". Modern Dance (archived page from elephant-talk.com). Retrieved 15 March 2021.
  13. ^ Pascall, Jeremy (1984). The Illustrated History of Rock Music. Golden Books Publishing. Retrieved on 4 September 2007.
  14. ^ Giles, Michael (November 2020). "King Crimson: "The spirit of KC '69 was an open collaboration of ideas, energy, freedom of expression, spontaneity and taking risks by going into the unknown"". Shindig! (Interview). Interviewed by Martin Ruddock. Retrieved 29 April 2022.
  15. ^ a b c Epitaph (CD). King Crimson. Discipline Global Mobile. 1997.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  16. ^ a b c Rob Young (5 September 2014). "King Crimson: "Without friction you don't get heat!"". Uncut. Retrieved 29 April 2022.
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    Green: Judging from your response to Jon Swinghammer, you consciously conceived the Crimson King as a composite of several historical figures.
    Sinfield:"Ok - It was that ... and a game of archetypes, symbols, and purposefully 'vulgar' colours. (The Magus/Gormenghast/The Lord of the Rings/The Prince/The Hidden Persuaders, some Heinlein...) It may amuse /confuse you to know that I wrote the whole song words and v. dodgy "Dylanesque" tune many months before I became with involved GG&F who became King Crimson.
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    Sinfield: Despite the possibility that I may have flippantly (an 'r' is optional) have stated it to be so... it is not. Granted that the name was taken from In the Court of the Crimson King in a moment of pressured panic.
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    (Q: You can't deny that you're influenced by Robert Fripp and King Crimson, right?
    Omar Rodríguez-López: No, of course not! I make no attempt to hide my affection for Fripps work. [...] I was introduced to King Crimson and again everything collapsed, but in a constructive way.)
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    (Q: I always thought that King Crimson's "Elephant Talk" was the basis of Primus's style. What do you think ?
    Les Claypool: I do not know if this particular song served as a basis for creating Primus, but it is clear that at the time we were all fans of this incarnation of King Crimson and Tony Levin, Adrian Belew, Robert Fripp and Bill Bruford were among our greatest influences. Tony Levin even more, because in my opinion he is the best bass player in the world and the one who plays with the most taste!)
  256. ^ "Say "Cheese"!". Kerrang!. No. 343. 1 June 1991. Les Claypool: I'd say the band is a lot more like King Crimson -- the latter version, with Tony Levin, who's one of my big heroes [...] I've always liked weird, abstract stuff. That's why I asked Larry to join the band and not some Joe Satriani clone. Not that I don't like that type of playing, but I'm big on people like Adrian Belew.
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  259. ^ Matt (13 February 2014). . www.aheartisaspade.com. Archived from the original on 5 March 2017. Retrieved 4 March 2017. There's a whole raft of other stuff that we've been drawing inspiration from though, for instance we were listening a lot to progressive and space rock while making the record, like King Crimson [...]
  260. ^ Aledort, Andy (30 September 2013). "Phish Scales: Trey Anastasio Breaks Down His Improvisation Techniques". Guitar World. Retrieved 23 July 2019. Oh, yeah, I love progressive rock. I'm a big fan of Robert Fripp [guitarist and founder of Sixties/Seventies progressive rock masters King Crimson—GW Ed.], and I still love a lot of his stuff. I was especially into his work with Brian Eno, on albums such as Another Green World, and I was really into King Crimson's Larks Tongues in Aspic, which is one of my all-time favorite albums. I like Red, too. Then there's the stuff he did later for his Discipline Records label. The "patterny" thing that Fripp is known for had a big influence on me.
  261. ^ Nicholas, Steve (January 2001). . Ghostland.com. Archived from the original on 25 February 2003. Retrieved 21 February 2017. When Nicklas, Peter and I started playing together in the middle of 1990 we played covers. The first song that we started rehearsing was "Larks' Tongues in Aspic, Part 2," the second was "Lament" and I believe that the third one was "Red." We wanted to see if we could pull off playing Crimso-songs, primarily from the Wetton-era, as this was our main source for inspiration at the time.
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    Dan Briggs: Yes, that's exactly what I mean. These influences are a part of our music since the Alaska days, a good ten years ago. King Crimson is a particular big influence. We actually covered 'Three Of A Perfect Pair' in 2006. It's always been there really, but it seems to become more dominant lately. It's fun because it's a big part of our musical makeup and it's still relevant to us who we are as musicians at this point in our career.
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General references

External links

  • Discipline Global Mobile Live
  • Crimson Jazz Trio
  • King Crimson discography at Discogs  
  • King Crimson at IMDb

February 06, 2023
king, crimson, this, article, about, band, fictional, entity, golden, wind, confused, with, crimson, king, were, progressive, rock, band, formed, 1968, london, england, band, drew, inspiration, from, wide, variety, music, incorporating, elements, classical, ja. This article is about the band For the fictional entity see Golden Wind Not to be confused with Crimson King King Crimson were a progressive rock band formed in 1968 in London England The band drew inspiration from a wide variety of music incorporating elements of classical jazz folk heavy metal gamelan industrial electronic experimental music and new wave They exerted a strong influence on the early 1970s progressive rock movement including on contemporaries such as Yes and Genesis and continue to inspire subsequent generations of artists across multiple genres 1 The band has earned a large cult following 2 3 King CrimsonKing Crimson at the Sapporo Culture Arts Theatre in Japan on December 2 2018 From left to right Pat Mastelotto Tony Levin Bill Rieflin Jeremy Stacey Jakko Jakszyk Gavin Harrison and Robert Fripp Mel Collins not shown Background informationOriginLondon EnglandGenresProgressive rock art rock post progressiveYears active1968 1974 1981 1984 1994 2003 2008 2009 2013 2021LabelsIsland Atlantic Vertigo Polydor EG Virgin Warner Bros Caroline Discipline Global MobileSpinoffs21st Century Schizoid Band McDonald and Giles Emerson Lake amp Palmer Crimson Jazz TrioSpinoff ofGiles Giles and FrippPast membersRobert Fripp Mel Collins Tony Levin Pat Mastelotto Gavin Harrison Jakko Jakszyk Jeremy Stacey Peter Sinfield Greg Lake Michael Giles Ian McDonald Gordon Haskell Andy McCulloch Ian Wallace Boz Burrell Bill Bruford John Wetton David Cross Jamie Muir Adrian Belew Trey Gunn Bill RieflinWebsitedgmlive wbr comFounded by Robert Fripp Michael Giles Greg Lake Ian McDonald and lyricist Peter Sinfield the band initially focused on a dramatic sound layered with Mellotron McDonald s saxophone and flute and Lake s powerful lead vocals Their debut album In the Court of the Crimson King 1969 remains their most commercially successful and influential release with a potent mixture of jazz classical and experimental music 4 Following the sudden simultaneous departures of McDonald and Giles with Lake also leaving very shortly afterwards Fripp and Sinfield assumed direction of the group for In the Wake of Poseidon 1970 Lizard 1970 and Islands 1971 with Mel Collins Boz Burrell and Ian Wallace among the band members during this period In 1972 Fripp changed the group s instrumentation and approach drawing from European free improvisation and developing ever more complex compositions With Bill Bruford John Wetton David Cross and briefly Jamie Muir they reached what some saw as a creative peak on Larks Tongues in Aspic 1973 Starless and Bible Black 1974 and Red 1974 Fripp disbanded this group in 1974 In 1981 Fripp and Bruford reformed King Crimson with another change in musical direction The new group also included Adrian Belew and Tony Levin They drew influence from African music gamelan post punk and New York minimalism This group lasted three years resulting in the trio of albums Discipline 1981 Beat 1982 and Three of a Perfect Pair 1984 Following a decade long hiatus Fripp revived the group as a sextet he called the double trio in 1994 adding Pat Mastelotto and Trey Gunn This group participated in another three year cycle of activity that included the release of Thrak 1995 and multiple concert recordings There was a hiatus between 1997 to 2000 Four members of the previous sextet reunited in 2000 as a more industrial oriented King Crimson 5 called the double duo releasing The Construkction of Light 2000 and The Power to Believe 2003 After a five year hiatus the group expanded in the person of new second drummer Gavin Harrison for a 2008 tour celebrating the 40th anniversary of their 1968 formation Following another hiatus 2009 2012 during which Fripp was thought to be retired King Crimson came together again in 2013 this time as a septet and later octet with an unusual three drumkit frontline and new second guitarist and singer Jakko Jakszyk This version of King Crimson continued to tour from 2014 to 2021 and released multiple live albums rearranging and reinterpreting music from across the band s entire 50 year career for the first time Contents 1 History 1 1 Formation 1 2 1968 1969 In the Court of the Crimson King 1 3 1970 1971 the interregnum In the Wake of Poseidon and Lizard 1 4 1971 1972 the Islands band 1 5 1972 1975 the European improvisers Larks Tongues in Aspic Starless and Bible Black Red and hiatus 1 6 1981 1984 the rock gamelan Discipline Beat Three of a Perfect Pair and second hiatus 1 7 1994 1999 the Double Trio Vrooom THRAK and the ProjeKcts 1 8 2000 2003 the Double Duo The Construkction of Light The Power to Believe third hiatus 1 9 2008 The second quintet and 40th Anniversary tour 1 10 2014 2021 the Seven Headed Beast and Three Over Five lineups 2 Former member cover bands 3 Musical style 3 1 Compositional approaches 3 2 Improvisation 4 Influence and legacy 5 Members 6 Discography 7 Citations 8 General references 9 External linksHistory EditFormation Edit In August 1967 drummer Michael Giles and his bassist brother Peter pro musicians in working bands since their mid teens in Dorset England advertised for a singing organist to join a group they were forming 6 7 Fellow Dorset musician Robert Fripp a guitarist who neither played organ nor sang responded and Giles Giles and Fripp was born The trio recorded several quirky singles and one eclectic album The Cheerful Insanity of Giles Giles and Fripp They hovered on the edge of success and even made a television appearance but were never able to make a commercial breakthrough 6 8 9 Band logo Attempting to expand their sound the three recruited Ian McDonald on keyboards reeds and woodwinds McDonald brought along two new participants his then girlfriend former Fairport Convention singer Judy Dyble whose brief tenure with the group ended when the two split 10 11 and lyricist roadie and art strategist Peter Sinfield with whom he had been writing songs a partnership initiated when McDonald had said to Sinfield regarding his band Creation Peter I have to tell you that your band is hopeless but you write some great words Would you like to get together on a couple of songs 12 Fripp meanwhile saw Clouds at the Marquee Club in London which spurred him to incorporate classically inspired melodies into his writing and utilise improvisation to find new ideas 13 No longer interested in Peter Giles more whimsical pop songs Fripp recommended that his old friend fellow guitarist and singer Greg Lake could join to replace either Peter or Fripp himself Peter Giles later called it one of Fripp s cute political moves 11 According to Michael Giles his brother had become disillusioned with the band s lack of success and departed before Fripp suggested Lake to fill Peter Giles position as bassist and singer 14 10 1968 1969 In the Court of the Crimson King Edit With Fripp McDonald Michael Giles and Sinfield joined by Lake the first incarnation of King Crimson was formed on 30 November 1968 They first rehearsed on 13 January 1969 10 15 Sinfield coined the band s name in a moment of pressured panic Sinfield had already used the term crimson king in a set of lyrics before his involvement with Giles Giles and Fripp Though King Crimson is often assumed to be a synonym for Beelzebub prince of demons Sinfield insisted that a crimson king was any ruler during whose reign there were societal rumblings and sort of the dark forces of the world 16 17 According to Fripp Beelzebub would be an anglicised form of the Arabic phrase B il Sabab meaning the man with an aim to which he related 18 19 At this early point McDonald was the primary composer with vital contributions from Fripp and Lake while Sinfield wrote all the lyrics on his own and also designed and operated the band s unique stage lighting being credited with words and illumination on the album sleeve Inspired by the Moody Blues McDonald suggested the group purchase a Mellotron keyboard and this became a key component of the early Crimson sound 20 Sinfield described the original Crimson thus If it sounded at all popular it was out So it had to be complicated it had to be more expansive chords it had to have strange influences If it sounded like too simple we d make it more complicated we d play it in 7 8 or 5 8 just to show off 21 The Court of the Crimson King 1969 source source 37 second sample from King Crimson s The Court of the Crimson King demonstrating the sound of the first incarnation of the band with its classically influenced style and use of the Mellotron instrument Problems playing this file See media help King Crimson made their breakthrough on 5 July 1969 by playing the Rolling Stones free concert at Hyde Park London before an estimated 500 000 people 22 10 The debut album In the Court of the Crimson King was released in October 1969 on Island Records Fripp would later describe it as having been an instant smash and New York s acid album of 1970 notwithstanding Fripp and Giles assertion that the band never used psychedelic drugs 15 Who guitarist and composer Pete Townshend called the album an uncanny masterpiece 23 The album contains Sinfield s gothic lyrics and its sound was described as having dark and doom laden visions 24 25 Its opening track 21st Century Schizoid Man was described as proto metal and the song s lyrics criticise the military involvement of the United States in Southeast Asia 1 26 In contrast to the blues based hard rock of the contemporary British and American scenes King Crimson presented a more Europeanised approach that blended antiquity and modernity 27 28 The band s music drew on a wide range of influences provided by all five group members These elements included classical music the psychedelic rock spearheaded by Jimi Hendrix folk jazz military music partially inspired by McDonald s stint as an army musician and free improvisation 1 26 28 23 After playing shows across England the band toured the US with various pop and rock acts Their first show was at Goddard College in Plainfield Vermont While the band found success and critical acclaim 29 creative tensions were already developing 10 Giles and McDonald still striving to cope with King Crimson s rapid success and the realities of touring life became uneasy with their musical direction Although he was neither the dominant composer nor the frontman Fripp was very much the group s driving force and spokesman leading them into progressively darker and more intense musical areas McDonald and Giles now favouring a lighter and more nuanced romantic style became increasingly uncomfortable with their position and resigned near the conclusion of the US tour 11 To keep the band together Fripp offered to resign himself but McDonald declared that King Crimson was more him than them and that he and Giles should therefore be the ones to leave 30 McDonald later said he was probably not emotionally mature enough to handle it and made a rash decision to leave without consulting anyone 31 The original line up played their last show at the Fillmore West in San Francisco on 16 December 1969 a little over one year after forming 15 Live recordings of the band from 1969 were released in 1997 on Epitaph 1970 1971 the interregnum In the Wake of Poseidon and Lizard Edit After their first US tour King Crimson was in a state of flux with various line up changes thwarted tour plans and difficulties in finding a satisfactory musical direction This period has subsequently been referred to as the interregnum a nickname implying that the King Crimson was not properly in place during this time 11 Fripp became the only remaining musician in the band with Sinfield expanding his creative role to operating synthesizers With Fripp and Sinfield planning for recording the second King Crimson album In the Wake of Poseidon the band s management booked Elton John to sing the material as a session musician amidst the uncertainty but Fripp decided against this idea after listening to his Empty Sky album 32 Lake did agree to sing all the vocals but left to form Emerson Lake and Palmer before he could finish recording Cadence and Cascade for which Fripp s old school friend Gordon Haskell was brought in as a guest vocalist 33 34 Michael Giles was recruited as a session musician Other musicians who contributed to the recording were Peter Giles playing bass guitar instead of Lake saxophonist Mel Collins of the band Circus and jazz pianist Keith Tippett 35 Upon its release in May 1970 In the Wake of Poseidon reached No 4 in the UK and No 31 in the US It received some criticism from those who thought it sounded too similar to their first album 36 With no set band to perform the new material Fripp and Sinfield invited Mel Collins and Gordon Haskell to join permanently with Haskell also handling bass as well as vocals while Andy McCulloch joined the band as drummer Collins would also act as occasional keyboard player and backing vocalist 37 35 Fripp and Sinfield wrote the third album Lizard themselves with Haskell Collins and McCulloch having no say in the direction of the material Tippett was brought back as a session player and offered full band membership as well but preferred to remain an occasional guest musician 38 Two members of Tippett s band also played on the album Mark Charig on cornet and Nick Evans on trombone Robin Miller on oboe and cor anglais also appeared Jon Anderson of Yes was brought in to sing a section of the album s title track Prince Rupert Awakes which Fripp and Sinfield considered to be outside Haskell s natural range and style Lizard featured stronger jazz and chamber classical influences than previous albums 11 35 The album contains Sinfield s phantasmagorical lyrics including Happy Family an allegory of the break up of the Beatles 39 and the title track a suite which took up the entire second side describing a medieval mythological battle and its outcome 40 Released in December 1970 Lizard reached No 29 in the UK and No 113 in the US Described retrospectively as an outlier 39 the album had been made by a group in disagreement over method and taste The more rhythm and blues oriented Haskell and McCulloch both found the music difficult to relate to and tedious and confusing to record Collins disliked how his parts were composed while both Fripp and Haskell detested Sinfield s lyrics 37 This lineup of the band did not survive much longer than the Lizard recording sessions Haskell quit the band acrimoniously during initial tour rehearsals after refusing to sing live with distortion and electronic effects on his voice and McCulloch departed soon after 10 11 With Sinfield not being a musician and Fripp having seemingly given up on the band Collins was left to search for new members 37 1971 1972 the Islands band Edit After a search for a drummer to replace McCulloch Ian Wallace was secured Fripp was re energised by the addition of a new member and he joined Collins and Wallace to audition singers and bassists Vocalists who tried out included Roxy Music frontman Bryan Ferry and John Gaydon one of the band s managers 37 41 The position eventually went to Raymond Boz Burrell 10 John Wetton was invited to join on bass but declined in order to join Family instead 42 43 Rick Kemp later of Steeleye Span rehearsed with the band but declined the final offer to formally join 35 Fripp decided to teach Boz to play bass rather than continue the labored auditions Though he had not played bass before Burrell had played enough acoustic guitar to assist him in learning the instrument quickly Wallace was able to further instruct Burrell in functioning on the instrument in a rhythm section 44 With a line up now complete King Crimson toured in 1971 for the first time since 1969 The concerts were well received but the musical differences between Fripp and the rest of the group and the somewhat wilder lifestyles of Collins Wallace and Burrell alienated the drug free Fripp who began to withdraw socially from his bandmates creating further tension 37 In 1971 the new King Crimson formation recorded Islands Sinfield who favoured a softer approach took lyrical inspiration from Homer s Odyssey musical inspiration from jazz players like Miles Davis and Ahmad Jamal and a sun drenched trip to Ibiza and Formentera 16 45 46 Islands featured the instrumental Sailor s Tale with a droning Mellotron and Fripp s banjo inspired guitar solo the raunchy blues inspired Ladies of the Road which featured Wallace and Collins on backing vocals and Song of the Gulls which was developed from an earlier Fripp instrumental Suite No 1 from Giles Giles amp Fripp s 1968 album 47 and would be the only time the band would utilize an orchestra 35 48 One of the band members allegedly called Islands as an airy fairy piece of shit 49 Released in December 1971 Islands charted at No 30 in the UK and No 76 in the US Following a tour of the United States in December 1971 Fripp informed Sinfield that he could no longer work with him and asked him to leave the band 16 45 50 51 In January 1972 the remaining band broke up acrimoniously in rehearsals owing partially to Fripp s refusal to play a composition by Collins 37 He later cited this as quality control with the idea that King Crimson would perform the right kind of music 11 In order to fulfil touring contracts in the United States in 1972 King Crimson reformed with the intention of disbanding immediately after the tour 37 Recordings from various North American dates between January and February 1972 were released as Earthbound in June of that year The album was noted for its playing style that occasionally veered towards funk and Burrell s scat singing on the improvised pieces but was criticised for its sub par sound quality 52 53 By this time the musical rift between Fripp and the rest of the band had grown very wide indeed Wallace Burrell and Collins favoured improvised blues and funk Later Fripp described this lineup at the time was more of a jam band than an improvising band an opinion with which Wallace disagreed Personal relations actually improved during the tour to the point where most of the band decided to continue on however Fripp opted to part company with the other three restructuring King Crimson with new musicians as he felt the other members wouldn t be fully engaged in the musical direction he had in mind 54 1972 1975 the European improvisers Larks Tongues in Aspic Starless and Bible Black Red and hiatus Edit It was going to be an interesting ride when I wasn t given a setlist when I joined the band more a reading list Ouspensky J G Bennett Gurdjieff and Castaneda were all hot Wicca personality changes low level magic pyromancy all this from the magus in the court of the Crimson King This was going to be more than three chords and a pint of Guinness Bill Bruford 55 The third major line up of King Crimson was radically different from the previous two Fripp s four new recruits were free improvising percussionist Jamie Muir drummer Bill Bruford who left Yes at a commercial peak in their career in favour of the darker Crimson 56 bassist and vocalist John Wetton and violinist keyboardist and flautist David Cross whom Fripp had met when he was invited to a rehearsal of Waves a band Cross was working in 10 57 Most of the musical compositions were collaborations between Fripp and Wetton who each composed segments independently and fitted together those which they found compatible 58 With Sinfield gone the band recruited Wetton s friend Richard Palmer James from the original Supertramp as their new lyricist 10 Unlike Sinfield Palmer James played no part in artistic decisions visual ideas or sonic directions his sole contributions to the group were his lyrics sent via mail from his home in Germany 59 60 Following a period of rehearsals King Crimson resumed touring on 13 October 1972 at the Zoom Club in Frankfurt 61 with the band s penchant for improvisation and Muir s startling stage presence gaining them renewed press attention 57 Larks Tongues in Aspic Part One 1973 source source An excerpt of Larks Tongues in Aspic Part One demonstrating the heavy metal influences complex structure of the music improvisation and the percussion of Jamie Muir Problems playing this file See media help In January and February 1973 King Crimson recorded Larks Tongues in Aspic in London which was released that March 62 The band s new sound was exemplified by the album s two part title track a significant change from what King Crimson had done before the piece emphasised the sharp instrumental interplay of the band and drew influence from modern classical music noisy free improv and even heavy metal riffing The record displayed Muir s unusual approach to percussion which included a self modified drum kit assorted toys a bullroarer 63 mbira gongs balloons thunder sheet and chains On stage Muir also employed unpredictable manic movements bizarre clothing and fake blood capsules occasionally spit or applied to the head becoming the sole example of such theatrical stage activity in the band s long history 64 42 65 66 The album reached No 20 in the UK and No 61 in the US After a period of further touring Muir departed in 1973 quitting the music industry altogether Muir told King Crimson s management that he had decided a musician s life was not for him and he had chosen to join a Scottish Buddhist monastery He offered to serve a period of notice which the management declined Instead of reiterating Muir s decision the management informed the band and the public that Muir had sustained an onstage injury caused by a gong landing on his foot 67 42 57 With Muir gone the remaining members reconvened in January 1974 to produce Starless and Bible Black released in March 1974 and earned them a positive Rolling Stone review 68 69 Though most of the album was recorded live during the band s late 1973 tour the recordings were carefully edited and overdubbed to sound like a studio record with The Great Deceiver Lament and the second half of The Night Watch the only tracks recorded entirely in the studio 70 71 The album reached No 28 in the UK and No 64 in the US Following the album s release the band began to divide once more this time over performance Musically Fripp found himself positioned between Bruford and Wetton who played with such force and increasing volume that Fripp once compared them to a flying brick wall and Cross whose amplified acoustic violin was consistently being drowned out by the rhythm section leading him to concentrate more on Mellotron and an overdriven electric piano An increasingly frustrated Cross began to withdraw both musically and personally with the result being that he was voted out of the group following the band s 1974 tour of Europe and America 11 72 Fripp performing in 1974 In July 1974 Fripp Bruford and Wetton began recording Red 10 Before recording began Fripp now increasingly disillusioned with the music industry turned his attention to the works of Russian mystic George Gurdjieff and had a spiritual experience in which the top of my head blew off 73 Though most of the album had been developed during live improvisations before Fripp retreated into himself and withdrew his opinion leaving Bruford and Wetton to direct the recording sessions The album contains one live track Providence recorded on 30 June 1974 with Cross playing violin Several guest musicians including Mel Collins and Ian McDonald contributed to the album 74 75 Released on 6 October 1974 76 Red went to No 45 in the UK and No 66 in the US AllMusic called it an impressive achievement for a group about to disband 77 with intensely dynamic musical chemistry between the band members 78 Two months before the release of Red King Crimson s future looked bright with talks regarding founder member Ian McDonald rejoining the group However Fripp wished not to tour as he felt increasingly disenchanted by the group and the music industry He also felt the world was going to drastically change by 1981 and that he had to prepare for it 79 74 Despite a band meeting while touring the US in which Fripp expressed a desire to end the band 80 the group did not formally disband until 25 September 1974 and later Fripp announced that King Crimson had ceased to exist and was completely over for ever and ever 10 81 It was later revealed that Fripp had attempted to interest his managers in a King Crimson with McDonald but without him but this idea was rejected 82 83 Following the band s disbanding the live album USA was released in May 1975 formed of recordings from their 1974 North American tour It received some positive reviews 53 including a must for fans of the band and insanity you re better off having 84 85 Issues with the tapes rendered some of Cross playing inaudible so Eddie Jobson was hired to perform violin and keyboard overdubs in a studio further edits were also made to allow the music to fit on a single LP 86 Between 1975 and 1981 King Crimson were completely inactive 1981 1984 the rock gamelan Discipline Beat Three of a Perfect Pair and second hiatus Edit Later versions of Discipline featured this knotwork design by Steve Ball In the late autumn of 1980 having spent several years on spiritual pursuits and then gradually returning to music playing guitar for David Bowie Peter Gabriel and Daryl Hall pursuing an experimental solo career leading instrumental new wave band The League of Gentlemen Fripp decided to form a new first division rock group but had no intentions of it being King Crimson 87 Having recruited Bill Bruford as drummer Fripp asked singer and guitarist Adrian Belew to join 88 the first time Fripp would actively seek collaboration with another guitarist in a band and therefore indicative of Fripp s desire to create something unlike any of his previous work 89 After touring with Talking Heads Belew agreed to join and also become the band s lyricist Bruford s suggestion of his bassist Jeff Berlin was rejected as Fripp thought his playing was too busy 90 so auditions were held in New York on the third day Fripp left after roughly three auditions only to return several hours later with Tony Levin who got the job after playing a single chorus of Red 55 Fripp later confessed that had he known that Levin whom Fripp had played with in Peter Gabriel s group was available and interested he would have selected him without holding auditions Fripp named the new quartet Discipline and they went to England to rehearse and write new material They made their live debut at Moles Club in Bath Somerset on 30 April 1981 and completed a short tour supported by the Lounge Lizards 91 92 93 By October 1981 the band had opted to change their name to King Crimson 10 The Sheltering Sky 1981 source source An excerpt of The Sheltering Sky 1981 showing gamelan influences Bruford s use of an African slit drum and Fripp and Belew s use of a guitar synthesiser a staple of much of their 1980s albums Problems playing this file See media help In 1981 King Crimson recorded Discipline with producer Rhett Davies The album displayed a very different version of the band with newer influences including post punk new wave funk minimalism pointillism world music and African percussion 94 95 96 97 With a sound described in The New Rolling Stone Album Guide as having a jaw dropping technique of knottily rhythmic harmonically demanding workouts 78 The title track Discipline was described as a postminimalist rock song 98 Fripp intended to create the sound of a rock gamelan with an interlocking rhythmic quality to the paired guitars that he found similar to Indonesian gamelan ensembles 99 Fripp concentrated on playing complex picked arpeggios while Belew provided an arsenal of guitar sounds that often mimic animal noises 100 101 In addition to bass guitar Levin used the Chapman Stick a ten string two handed tapping hybrid guitar and bass instrument which he played in an utterly original style 102 103 104 Bruford experimented with cymbal less acoustic kits and a Simmons SDS V electronic drum kit The band s songs were shorter in comparison to previous King Crimson albums and very much shaped by Belew s pop sensibilities and quirky approach to writing lyrics Though the band s previous taste for improvisation was now tightly reined in one instrumental The Sheltering Sky emerged from group rehearsals while the noisy half spoken half shouted Indiscipline was a partially written part improvised piece created in order to give Bruford a chance to escape from the strict rhythmic demands of the rest of the album 11 Released in September 1981 Discipline reached No 41 in the UK and No 45 in the US In June 1982 King Crimson followed Discipline with Beat the first King Crimson album recorded with the same band line up as the album preceding it 105 Beat is the only album where Fripp had no involvement in the original mixing Davies and Belew undertook production duties 106 107 The album had a linked theme of the Beat Generation and its writings reflected in song titles such as Neal and Jack and Me inspired by Neal Cassady and Jack Kerouac Heartbeat inspired by Carolyn Cassady s Heart Beat My Life with Jack and Neal The Howler inspired by Allen Ginsberg s Howl and Waiting Man inspired by William Burroughs The album contained themes of life on the road existential angst and romanticism 108 109 110 While Beat was more accessible 111 it had the improvised Requiem which featured Frippertronics a guitar technique invented by Brian Eno and Robert Fripp using a tape loop system 112 Recording Beat was faced with tension with Belew suffering high stress levels over his duties as front man lead singer and principal songwriter On one occasion he clashed with Fripp and ordered him out of the studio 113 106 As Beat reached No 39 in the UK and No 52 in the US King Crimson resumed touring Heartbeat was released as a single which peaked at No 57 on the Billboard Mainstream Rock chart Around this time the band released the VHS only The Noise Live in Frejus a record of a show played at the Arena Frejus France on 27 August 1982 This video is on DVD as part of the compilation Neal and Jack and Me and On and off The Road 1981 1984 King Crimson s next album Three of a Perfect Pair was recorded in 1983 and released in March 1984 Having encountered difficulty in both writing and determining a direction for the album the band chose to record and call the album s first half a left side four of the band s poppier songs plus an instrumental and the second half a right side experimental work improvisations that drew influence from industrial music 114 plus the third part of the Larks Tongues in Aspic series of compositions The stress during the writing process and the tension between the band members manifested in both lyrical content and music and the result is a nerve racking album 100 115 116 117 The 2001 remaster of the album included the other side a collection of remixes and improvisational out takes plus Levin s humorous song The King Crimson Barbershop 118 119 Three of a Perfect Pair peaked at No 30 in the UK and No 58 in the US with Three of a Perfect Pair and Sleepless being released as singles The last concert of the Three of a Perfect Pair tour at the Spectrum in Montreal Canada on 11 July 1984 was recorded and released in 1998 as Absent Lovers Live in Montreal 120 Despite their conflict the musicians remained professional on stages 103 Robert broke up the group again for the umpteenth time dwelling at length I suppose on our lack of imagination ability direction and a thousand other things we were doubtless missing I suppose this only because I remember not listening to this litany of failures Might as well quit while you re ahead I thought Bill Bruford on the band s 1984 disbanding 55 Following the 1984 tour Fripp dissolved King Crimson for the second time exactly ten years after dissolving the previous group Bruford and Belew expressed some frustration over this Belew recalled the first he had heard of the split was when he read about it in a report in Musician magazine 121 122 1994 1999 the Double Trio Vrooom THRAK and the ProjeKcts Edit In the summer of 1991 Belew met with Fripp in England to express an interest in reviving King Crimson 123 One year later Fripp established his Discipline Global Mobile DGM record label with producer David Singleton Subsequently DGM would be the primary home for Fripp s work with larger album releases distributed to bigger record companies initially Virgin records and smaller releases handled by DGM This afforded Fripp and his associates greater creative freedom and more control over all aspects of their work 124 In late 1991 Fripp asked former Japan singer David Sylvian to join the new King Crimson band but Sylvian declined the offer though the two collaborated as Sylvian Fripp 125 In June 1993 Fripp began to assemble a larger version of the band joined by Belew and Levin from the 1980s quartet Chapman Stick player Trey Gunn a veteran of Fripp s Guitar Craft courses 126 and drummer Jerry Marotta 127 64 128 with whom Fripp had played with Peter Gabriel 129 After Sylvian Fripp s closing concerts at the Royal Albert Hall in December 1993 125 130 a tour that Marotta didn t participate in Fripp decided to ask the tour s drummer Pat Mastelotto to join instead of Marotta 128 Bruford wound up being the last of the 1980s group to return to the band 64 Fripp explained that he had a vision of a Double Trio with two drummers while driving along the Chalke Valley one afternoon in 1992 102 123 Bruford later said he lobbied Fripp last minute because he believed that Crimson was very much his gig and that Fripp had come up with a philosophical explanation for utilizing both Mastelotto and himself later One of the conditions Fripp imposed upon Bruford if he were to return was to give up all creative control to Fripp 55 Following rehearsals in Woodstock New York the group released the extended play Vrooom in October 1994 This revealed the new King Crimson sound which featured the interlocking guitars of the 1980s mixed with the layered heavier feel of the 1970s period 131 failed verification There was also a distinct influence from the industrial music of that time 132 133 Many of the songs were written or finalised by Belew and displayed stronger elements of 1960s pop than before in particular a Beatles influence 134 Bruford would refer to the band as sounding like a dissonant Shadows on steroids 55 As with previous line ups new technology was utilised including MIDI which Fripp used to convert Frippertronics to digital version of it called Soundscapes 124 135 136 and the versatile Warr tap guitar with which Gunn replaced his Stick in 1995 137 King Crimson toured the album from 28 September 1994 in Buenos Aires Argentina portions of these concerts were released on the double live CD set B Boom Live in Argentina in 1995 The meaning of THRAK the first one is a sudden and precise impact moving from direction and commitment in service of an aim The second definition is 117 guitars almost hitting the same chord simultaneously So the album THRAK what is it 56 minutes and 37 seconds of songs and music about love dying redemption and mature guys who get erections Robert Fripp s press release for THRAK and the sleeve notes to VROOOM VROOOM 138 18 In October and December 1994 King Crimson recorded their eleventh studio album THRAK 131 Formed mostly of revised versions of the tracks from Vrooom plus new tracks the album was described by Q magazine as having jazz scented rock structures characterised by noisy angular exquisite guitar interplay and an athletic ever inventive rhythm section 139 while being in tune with the sound of alternative rock of the mid 1990s 140 Examples of the band s efforts to integrate their multiple elements could be heard on the accessible but complex songs Dinosaur and Sex Sleep Eat Drink Dream the more straightforward ballad One Time as well as Radio I and Radio II a pair of Fripp s Soundscapes instrumentals 134 King Crimson resumed touring in 1995 and into 1996 dates from October and November 1995 were recorded and released on the live album Thrakattak in May 1996 which is an hour of improvised music integrating sections from performances from the THRAK tour in the United States and Japan mixed and arranged by Fripp s DGM partner engineer David Singleton 141 142 18 A more conventional live recording from the period was later made available as the double CD release Vrooom Vrooom 2001 as was a full 1995 concert on the Deja Vrooom DVD 2003 Writing rehearsals began in May 1997 in Nashville Tennessee Fripp was dissatisfied with the quality of the new music being developed by the band Longstanding friction and disagreements between himself and Bruford led to the latter deciding to leave King Crimson for good The resulting bad atmosphere and the lack of workable material almost broke the band up altogether Instead the six members opted to work in four smaller groups or fraKctalisations as Fripp called them known as ProjeKcts This enabled the group to continue developing ideas and searching for a new direction without the practical difficulty and expense of convening all six musicians at once From 1997 to 1999 the first four ProjeKcts played live in the United States and the United Kingdom and released recordings that showed a high degree of free improvisation with influences ranging from jazz industrial techno and drum n bass 143 144 These have been collectively described by music critic J D Considine as frequently astonishing but lacking in melody 78 After Bruford had played four dates with Projekct One in December 1997 he left King Crimson to resume working with his own jazz group Earthworks 144 2000 2003 the Double Duo The Construkction of Light The Power to Believe third hiatus Edit In October 1999 King Crimson began to reconvene 145 Tony Levin was busy working as a session musician and decided to take a hiatus from the group so the remaining members Fripp Belew Gunn and Mastelotto formed the Double Duo to write and record The Construkction of Light in Belew s basement studio and garage near Nashville 144 146 147 Released in May 2000 the album reached No 129 in the UK Most of the pieces were metallic harsh and industrial in sound 5 They featured a distinct electronic texture a heavily processed electric drum sound from Mastelotto Gunn taking over the bass role on Warr Guitar and a different take on the interlocking guitar sound that the band had pioneered in the 1980s 144 With the exception of an industrial blues sung by Belew through a voice changer under the pseudonym of Hooter J Johnson the songs were dense and complex 148 2 149 The album contains the fourth installment of Larks Tongues in Aspic It received a negative reception for lacking new ideas 150 The band recorded an album of improvised instrumentals at the same time and released them under the name ProjeKct X on the CD Heaven and Earth 151 King Crimson toured to support both albums including double bill shows with Tool 152 The tour was documented in Heaven amp Earth box set 153 Led Zeppelin bassist John Paul Jones and his band supported Crimson on some live shows 154 On 9 November 2001 King Crimson released a limited edition live extended play called Level Five 155 featuring three new pieces Dangerous Curves Level Five and Virtuous Circle plus versions of The Construkction of Light and ProjeKct s The Deception of the Thrush followed by an unlisted track called ProjeKct 12th and X after one minute of silence 156 A second EP followed in October 2002 Happy with What You Have to Be Happy With This featured eleven tracks including a live version of Larks Tongues in Aspic Part IV Half of the tracks were processed vocal snippets by Belew and the songs themselves varied between Soundscapes gamelan heavy metal and blues 144 157 The band performing in 2003Left to right Trey Gunn Adrian Belew and Robert Fripp Pat Mastelotto is hidden King Crimson released their thirteenth album The Power to Believe in March 2003 158 Fripp described it as the culmination of three years of Crimsonising 159 The album incorporated reworked and retitled versions of Deception of the Thrush The Power to Believe III tracks from their previous two EPs and an extract from a Fripp Soundscape with added instrumentation and vocals 144 160 The Power to Believe reached No 162 in the UK and No 150 in the US King Crimson toured in 2003 to support the album recordings from it were used for the live album EleKtrik Live in Japan 2003 also saw the release of the DVD Eyes Wide Open a compilation of the band s shows Live at the Shepherds Bush Empire London 3 July 2000 and Live in Japan Tokyo 16 April 2003 In November 2003 Gunn left the group to pursue solo projects and was replaced by the returning Tony Levin 161 162 The band reconvened in early 2004 for rehearsals but nothing developed from these sessions They went on another hiatus 146 10 At this point Fripp was publicly reassessing his desire to work within the music industry often citing the unsympathetic aspects of the life of a touring musician such as the illusion of intimacy with celebrities 163 164 165 Belew performing in 2006 On 21 September 2006 former King Crimson member Boz Burrell died of a heart attack 166 followed by another former member Ian Wallace who died of esophageal cancer on 22 February 2007 167 2008 The second quintet and 40th Anniversary tour Edit A new King Crimson formation was announced in 2007 Fripp Belew Levin Mastelotto and a new second drummer Gavin Harrison 10 In August 2008 after a period of rehearsals the five completed the band s 40th Anniversary Tour The setlists featured no new material drawing instead from the existing mid 70s era Discipline era Double Trio Double Duo repertoire 144 168 Additional shows were planned for 2009 but were cancelled due to scheduling clashes with Belew 169 170 King Crimson began another hiatus after the 40th Anniversary Tour 171 172 Belew continued to lobby for reviving the band and discussed it with Fripp several times in 2009 and 2010 Among Belew s suggestions was a temporary reunion of the 1980s line up for a thirtieth anniversary tour an idea declined by both Fripp and Bruford the latter commenting I would be highly unlikely to try to recreate the same thing a mission I fear destined to failure 173 174 175 In December 2010 Fripp wrote that the King Crimson switch had been setting to off since October 2008 citing several reasons for this decision 176 2014 2021 the Seven Headed Beast and Three Over Five lineups Edit In 2011 a band called Jakszyk Fripp and Collins and subtitled A King Crimson ProjeKct released an album called A Scarcity of Miracles The band featured guitarist and singer Jakko Jakszyk Fripp and former Crimson saxophonist Mel Collins as the main players composers with Tony Levin playing bass and Gavin Harrison playing drums At one point Fripp referred to the band as P7 ProjeKct Seven 176 Unusually for a ProjeKct it was based around finely crafted and mid paced original songs derived from improvised sessions 177 178 In August 2012 Fripp announced his retirement from the music industry leaving the future of King Crimson uncertain 179 In September 2013 Fripp announced King Crimson s return to activity with a very different reformation to what has gone before seven players four English and three American with three drummers 179 He cited several reasons to make a comeback varying from the practical to the whimsical I was becoming too happy Time for a pointed stick 180 181 The new line up drew from both the previous lineup retaining Fripp Levin Harrison and Mastelotto and the Scarcity of Miracles project Jakszyk and Collins with Guitar Craft alumnus and former R E M Ministry drummer Bill Rieflin as the seventh member 10 182 Adrian Belew was not asked to take part thus ending his 32 year tenure in King Crimson Jakszyk took his place as singer and second guitarist 183 This version of the group took on the nickname of the Seven Headed Beast 82 In early 2014 King Crimson had no plans to record in the studio instead playing reconfigured versions of past material 184 For the first time since 1974 the band s repertoire included songs from the run of albums between In The Court of the Crimson King and Larks Tongues in Aspic as well as including instrumentals from THRAK and The Power to Believe After rehearsing in England they toured North America from 9 September to 6 October 185 186 187 Recordings from the Los Angeles dates were released as Live at the Orpheum Tours across Europe Canada and Japan followed in the later half of 2015 188 A live recording from the Canadian leg of the tour was released as Live In Toronto A European tour was planned for 2016 Following Rieflin s decision to take a break from music drummer Jeremy Stacey of Noel Gallagher s High Flying Birds was called in place for dates from September 189 On 7 December 2016 founding King Crimson member Greg Lake died of cancer 190 Another former King Crimson member John Wetton died of colon cancer on 31 January 2017 191 On 3 January 2017 Bill Rieflin returned to King Crimson 192 Since the band wished to retain Jeremy Stacey Fripp called the new lineup the Double Quartet Formation referencing four drummers 193 Consequently King Crimson became an octet Later on Rieflin shifted his group role and became King Crimson s first full time keyboard player Fripp rechristened the lineup the Three Over Five or Five Over Three Formation 194 195 On 2 June 2017 King Crimson released a new live EP named Heroes after the David Bowie song as a tribute to both the artist and the album featuring the song in question both of which featured distinctive Robert Fripp guitar contributions throughout 196 The video to the song won Video of the Year at the 2017 Progressive Music Awards 197 Shortly afterwards King Crimson embarked on a United States tour beginning on 11 June and ending on 26 November 198 199 On 3 September Robert Fripp said that his differences with Adrian Belew had been resolved and that there were no current plans for him to come out with the current formation but the doors to the future are open Belew confirmed this adding it means I may be back in the band in the future at some point 3 200 On 13 October it was announced that Bill Rieflin would be unable to join the Three Over Five Formation on the 2017 Autumn tour in the U S He was temporarily replaced by Seattle based Crafty Guitarist Chris Gibson 201 During 2018 King Crimson performed the extensive 33 date Uncertain Times tour through the UK and Europe between 13 June and 16 November 202 On 6 April 2019 it was announced at a press conference that Rieflin would take another break from King Crimson to attend to family matters his place on keyboards for the 2019 50th anniversary tour would be taken by Theo Travis better known as a saxophonist Soft Machine member and occasional duo collaborator with Robert Fripp 82 83 Although Travis joined the band for rehearsals Fripp said on 2 May that the band had decided that it was no longer possible to have other musicians deputising for Rieflin and for this reason were proceed ing as a Seven Headed Beast without Travis 203 Rieflin s parts were divided among other band members with Fripp Stacey Jakszyk and Collins adding keyboards to their on stage rigs and Levin once again using the synthesizer he used during the 80s tours 204 205 Soon after on 11 June King Crimson s entire discography was made available to stream online on all the major streaming platforms as part of the band s 50th anniversary celebration 206 On 24 March 2020 Bill Rieflin died of cancer 207 In the same year former member Gordon Haskell died of lung cancer on 15 October 208 The band toured North America and then Japan in 2021 209 Recordings from Washington D C and Albany New York dates were released as Music is our Friend 210 211 Because of the rising cost of services during the pandemic and old age they took another hiatus with no intentions for any more tours 212 213 The band has ceased activity Levin said in a late 2022 interview that the sense I got from Robert Fripp was that it s over Maybe King Crimson will speak to him in the future in some way and will revive its head with who knows what line up 214 On 9 February 2022 founding King Crimson member Ian McDonald died of cancer 31 Former member cover bands EditSince the early 2000s several bands containing former recent or current King Crimson members have toured and recorded performing King Crimson music Active between 2002 and 2005 the 21st Century Schizoid Band reunited several former King Crimson members who had played on the band s first four albums The band featured Ian McDonald Mel Collins Peter Giles and Michael Giles the latter subsequently replaced by Ian Wallace 215 and was fronted by Jakko Jakszyk a decade prior to his own recruitment into King Crimson The band engaged in several tours played material from King Crimson s 60s and 70s catalogue and recorded several live albums The band disbanded upon Wallace s death in 2007 216 217 Since 2007 Tony Levin has led the trio Stick Men which also features Pat Mastelotto The band was initially completed by Chapman Stick player Michael Bernier replaced in 2010 by touch guitarist and former Fripp student Markus Reuter 218 219 This band includes and reinterprets King Crimson compositions in their live sets 220 Previously called Tuner Reuter and Mastelotto also play together as a duo for which they have been known to rework the mid 1980s King Crimson instrumental Industry live 221 Between 2011 and 2014 Stick Men and Adrian Belew s Power Trio band Belew plus drummer Tobias Ralph and bass player Julie Slick 222 joined forces to play and tour as The Crimson ProjeKCt covering the music made during the 80s and 90s 169 223 The two groups performed together from time to time usually under names like Belew Levin Mastelotto and friends 224 During his solo career including performances with the Power Trio Adrian Belew has performed various versions of King Crimson songs 225 226 227 Musical style EditKing Crimson have been described musically as progressive rock 10 art rock 228 and post progressive 229 with their earlier works being described as proto prog 230 Their music was initially grounded in the rock of the 1960s especially the acid rock and psychedelic rock movements The band played Donovan s Get Thy Bearings in concert 231 and were known to play the Beatles Lucy in the Sky with Diamonds in their rehearsals 232 However for their own compositions King Crimson unlike the rock bands that had come before them largely stripped away the blues based foundations of rock music and replaced them with influences derived from classical composers The first incarnation of King Crimson played the Mars section of Gustav Holst s suite The Planets live and later the band used Mars as a foundation for the song Devil s Triangle 233 234 As a result of this influence In the Court of the Crimson King is frequently viewed as the nominal starting point of the progressive rock movements 235 King Crimson also initially displayed strong jazz influences most obviously on its signature track 21st Century Schizoid Man 1 236 The band also drew on English folk music for compositions such as Moonchild 237 and I Talk to the Wind 236 237 In the 1972 lineup Fripp s intention was to combine the music of Jimi Hendrix Igor Stravinsky and Bela Bartok 238 23 The 1981 reunion of the band brought in even more elements displaying the influence of funk post punk new wave gamelan music and late 20th century classical composers such as Philip Glass Steve Reich and Terry Riley 239 91 5 For its 1994 reunion King Crimson reassessed both the mid 1970s and 1980s approaches in the light of new technology intervening music forms such as electronica drum n bass and techno 144 and further developments in industrial music as well as expanding the band s ambient textural content via Fripp s Soundscapes looping approach The 2013 version of the band returned for the most part to the band s 1960s and 1970s influences and repertoire but addressed them via current technology and rearrangements suited to a larger ensemble of more experienced musicians while also incorporating the New Standard Tuning used by Fripp since 1984 citation needed Compositional approaches Edit This section needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed March 2021 Learn how and when to remove this template message Several King Crimson compositional approaches have remained constant from the earliest versions of the band to the present These include The use of a gradually building rhythmic motif 240 These include The Devil s Triangle an adaptation and variation on the Gustav Holst piece Mars played by the original King Crimson based on a complex pulse in 54 time over which a skirling melody is played on a Mellotron 1973 s The Talking Drum from Larks Tongues in Aspic 1984 s Industry from Three of a Perfect Pair and 2003 s Dangerous Curves from The Power to Believe 241 An instrumental piece often embedded as a break in a song in which the band plays an ensemble passage of considerable rhythmic and polyrhythmic complexity 242 An early example is the band s initial signature tune 21st Century Schizoid Man but the Larks Tongues in Aspic series of compositions as well as pieces of similar intent such as THRAK and Level Five go deeper into polyrhythmic complexity delving into rhythms that wander into and out of general synchronisation with each other but that all finish together through polyrhythmic synchronisation These polyrhythms were particularly abundant in the band s 1980s work which contained gamelan like rhythmic layers and continual overlaid staccato patterns in counterpoint The composition of difficult solo passages for individual instruments such as the guitar break on Fracture on Starless and Bible Black 243 The juxtaposition of ornate tunes and ballads with unusual often dissonant noises such as Cirkus from Lizard Ladies of the Road from Islands and Eyes Wide Open from The Power to Believe The use of improvisation Ascending note structure e g Facts of Life and THRAK Improvisation Edit We re so different from each other that one night someone in the band will play something that the rest of us have never heard before and you just have to listen for a second Then you react to his statement usually in a different way than they would expect It s the improvisation that makes the group amazing for me You know taking chances There is no format really in which we fall into We discover things while improvising and if they re really basically good ideas we try and work them in as new numbers all the while keeping the improvisation thing alive and continually expanding King Crimson violinist David Cross on the mid 1970s band s approach to improvisation 244 King Crimson have incorporated improvisation into their performances and studio recordings from the beginning some of which has been embedded into pieces such as Moonchild Providence Requiem and No Warning 245 including passages of restrained silence as with Bill Bruford s contribution to the improvised Trio 246 Rather than using the standard jazz or rock jamming format for improvisation in which one soloist at a time takes centre stage while the rest of the band lies back and plays along with established rhythm and chord changes King Crimson improvisation is musicians collectively making creative decisions and contributions as the music is being played Individual soloing is largely eschewed each musician is to listen to each other and to the group sound to be able to react creatively within the group dynamic Fripp has used the metaphor of magic to describe this process in particular when the method works particularly well 244 247 Similarly King Crimson s improvised music is varied in sound and the band has been able to release several box sets and albums consisting mostly or entirely of improvised music 248 such as the THRaKaTTaK album 141 and the band s series of ProjeKcts 143 Occasionally particular improvised pieces will be recalled and reworked in different forms at different shows becoming more and more refined and eventually appearing on official studio releases 65 144 Influence and legacy EditKing Crimson have been influential both on the early 1970s progressive rock movement and numerous contemporary artists Genesis and Yes were directly influenced by the band s usage of the mellotron 249 1 and many King Crimson band members were involved in other notable bands Lake in Emerson Lake amp Palmer McDonald in Foreigner Burrell in Bad Company and Wetton in U K and Asia Canadian rock band Rush s drummer Neil Peart credited the adventurous and innovative style of Michael Giles on his own approach to percussion 250 King Crimson s influence extends to many bands from diverse genres especially of the 1990s and 2000s Kurt Cobain the frontman of the grunge band Nirvana had stated that the album Red had a major influence on the sound of their final studio album In Utero 23 Tool are known to be heavily influenced by King Crimson 152 251 with vocalist Maynard James Keenan joking on a tour with them Now you know who we ripped off Just don t tell anyone especially the members of King Crimson 252 Modern progressive experimental psychedelic and indie rock bands have cited them as an influence as well including the Mars Volta 253 254 Primus 255 256 Mystery Jets 257 258 Fanfarlo 259 Phish 260 and Anekdoten who first practiced together playing King Crimson songs 261 Steven Wilson the leader of Porcupine Tree was responsible for remixing King Crimson s back catalogue in surround sound and said that the process had an enormous influence on his solo albums 262 and his band was influenced by King Crimson 263 In November 2012 the Flaming Lips in collaboration with Stardeath and White Dwarfs released a track by track reinterpretation of In the Court of the Crimson King entitled Playing Hide and Seek with the Ghosts of Dawn 264 Colin Newman of Wire said he saw King Crimson perform many times and that they influenced him deeply 265 The seminal hardcore punk group Black Flag acknowledge Wetton era King Crimson as an influence on their experimental period in the mid 1980s 266 Melvin Gibbs said that the Rollins Band was influenced most by King Crimson using similar chords 267 268 Bad Religion cites the lyrics of 21st Century Schizoid Man on their single 21st Century Digital Boy and the name of their record label Epitaph founded by their guitarist Brett Gurewitz comes from the song of the same name on Crimson s debut album 269 Living Colour guitarist Vernon Reid considered Robert Fripp as one of his guitar influences 270 King Crimson have frequently been cited as pioneers of progressive metal 271 272 and as an influence on bands of this genre including Opeth 273 Mastodon 274 275 Between the Buried and Me 276 277 Leprous 278 279 Haken 280 the Ocean 281 Caligula s Horse 282 Last Chance to Reason 283 and Indukti 284 Members of metal bands Mudvayne 285 Voivod 286 Enslaved 287 288 Yob 289 Pyrrhon 290 and Pallbearer 291 have cited King Crimson as an influence Heavy experimental and avant garde acts like the Dillinger Escape Plan 292 Neurosis 293 Zeni Geva 294 Ancestors 295 and Oranssi Pazuzu 296 all cite King Crimson s influence Other artists affected by King Crimson include video game composer Nobuo Uematsu 297 298 noise music artist Masami Akita of Merzbow 299 jazz guitarist Dennis Rea of Land 300 folktronica exponent Juana Molina 301 hip hop producer RJD2 302 hip hop and soul composer Adrian Younge 303 film director Hal Hartley 304 and folk pop singer Ian Kelly 305 Members EditMain article List of King Crimson members Final lineup Robert Fripp guitar keyboards mellotron electronics 1968 1974 1981 1984 1994 2003 2008 2009 2013 2021 Mel Collins saxophones flute bass flute clarinet bass clarinet mellotron backing vocals 1970 1972 2013 2021 Tony Levin bass Chapman stick synthesisers backing vocals 1981 1984 1994 1998 2003 2008 2009 2013 2021 Pat Mastelotto drums percussion programming 1994 2003 2008 2009 2013 2021 Gavin Harrison drums percussion 2008 2009 2013 2021 Jakko Jakszyk lead vocals guitar flute keyboards 2013 2021 Jeremy Stacey drums keyboards backing vocals 2016 2021 Former members Michael Giles drums percussion backing vocals 1968 1969 Ian McDonald saxophone flute clarinet bass clarinet keyboards mellotron vibraphone backing vocals 1968 1969 died 2022 Peter Sinfield lyrics lighting synthesizer 1968 1971 Greg Lake bass lead vocals 1968 1970 died 2016 Gordon Haskell bass lead vocals 1970 died 2020 Andy McCulloch drums 1970 Ian Wallace drums percussion backing vocals 1970 1972 died 2007 Boz Burrell bass lead vocals 1971 1972 died 2006 John Wetton bass lead vocals 1972 1974 died 2017 Jamie Muir percussion 1972 1973 Bill Bruford drums percussion 1972 1974 1981 1984 1994 1997 David Cross violin viola keyboards 1972 1974 Adrian Belew guitar lead vocals drums and percussion 1981 1984 1994 2003 2008 2009 Trey Gunn Warr guitar Chapman stick backing vocals bass 1994 2003 Bill Rieflin keyboards synthesizer mellotron drums percussion 2013 2020 died 2020 inactive autumn to winter 2016 autumn 2017 2019 to 2020 Discography EditMain article King Crimson discography In the Court of the Crimson King 1969 In the Wake of Poseidon 1970 Lizard 1970 Islands 1971 Larks Tongues in Aspic 1973 Starless and Bible Black 1974 Red 1974 Discipline 1981 Beat 1982 Three of a Perfect Pair 1984 Thrak 1995 The Construkction of Light 2000 The Power to Believe 2003 Citations Edit a b c d e Shteamer Hank 1 October 2019 King Crimson s 21st Century Schizoid Man Inside Prog s Big Bang Rolling Stone Retrieved 7 February 2021 a b Niester Alan 27 November 2000 In the court of the Crimson fanatics The Globe and Mail Retrieved 14 March 2021 a b Shteamer Hank 15 April 2019 The Crimson King Seeks a New Court Rolling Stone Retrieved 19 March 2021 Buckley 2003 p 477 Opening with the cataclysmic heavy metal of 21st Century Schizoid Man and closing with the cathedral sized title track a b c Freeman Phil 10 October 2019 A Tribute To In The Court Of The Crimson King Released 50 Years Ago Today stereogum com Retrieved 7 February 2021 a b Eder Bruce Giles Giles and Fripp AllMusic Retrieved 8 August 2007 Interview with Robert Fripp Musician magazine archived page from elephant talk com August 1984 Retrieved 15 March 2021 Planer Lindsay The Cheerful Insanity of Giles Giles amp Fripp allmusic com Retrieved 25 January 2021 Smith Sid 30 November 2005 Digging Giles Giles amp Fripp dgmlive com Retrieved 17 March 2021 a b c d e f g h i j k l m n o p Eder Bruce King Crimson Biography AllMusic Retrieved 19 August 2007 a b c d e f g h i Smith Sid 2002 In The Court of King Crimson Helter Skelter Publishing Retrieved on 12 June 2009 Interview with Peter Sinfield Modern Dance archived page from elephant talk com Retrieved 15 March 2021 Pascall Jeremy 1984 The Illustrated History of Rock Music Golden Books Publishing Retrieved on 4 September 2007 Giles Michael November 2020 King Crimson The spirit of KC 69 was an open collaboration of ideas energy freedom of expression spontaneity and taking risks by going into the unknown Shindig Interview Interviewed by Martin Ruddock Retrieved 29 April 2022 a b c Epitaph CD King Crimson Discipline Global Mobile 1997 a href Template Cite AV media notes html title Template Cite AV media notes cite AV media notes a CS1 maint others in cite AV media notes link a b c Rob Young 5 September 2014 King Crimson Without friction you don t get heat Uncut Retrieved 29 April 2022 Sinfield Peter 2001 King Crimson Enclosures of the word kind songsouponsea com Interview Interviewed by Jon Green Jon Swinghammer Sid Smith Andrew Keeling Agullo Xavier Retrieved 10 February 2021 Sinfield any ruler who presided over an intense period of learning yearning and burning and apparently benificial sic progress HA towards the elevation of mankind Since Fred2 is a such a suitable archytype for said societal rumblings allegoricaly speaking It would be churlish of me to quibble Green Judging from your response to Jon Swinghammer you consciously conceived the Crimson King as a composite of several historical figures Sinfield Ok It was that and a game of archetypes symbols and purposefully vulgar colours The Magus Gormenghast The Lord of the Rings The Prince The Hidden Persuaders some Heinlein It may amuse confuse you to know that I wrote the whole song words and v dodgy Dylanesque tune many months before I became with involved GG amp F who became King Crimson Keeling Is the name King Crimson really a synonym for Beelzebub Sinfield Despite the possibility that I may have flippantly an r is optional have stated it to be so it is not Granted that the name was taken from In the Court of the Crimson King in a moment of pressured panic a b c Fripp Robert 2001 The Double Trio Robert Fripp dgmlive com Retrieved 31 December 2021 Robert Fripp on the King Crimson name Song Soup on Sea Peter Sinfield s website songsouponsea com Retrieved 29 August 2007 Ian McDonald Conversation on Mellotrons Pt 1 of 8 YouTube Archived from the original on 29 October 2021 Retrieved 17 June 2010 Prog Rock Britannia An Observation in Three Movements BBC 2 January 2009 Retrieved 13 May 2012 Planer Lindsay King Crimson Live in Hyde Park July 5 1969 allmusic com Retrieved 10 March 2021 a b c d Varga George 10 June 2017 Legendary King Crimson still making shape shifting music The San Diego Union Tribune Retrieved 9 February 2021 Eder Bruce In the Court of the Crimson King AllMusic Retrieved 29 August 2007 Harrington Richard 20 March 1992 King Crimson Reign Of Wagnerian Rock Washington Post Retrieved 27 July 2022 a b Reed Ryan 11 November 2019 King Crimson In the Court of the Crimson King 50th Anniversary Pitchfork Retrieved 7 February 2021 Hamad Michael 8 December 2016 In Memoriam An Interview With Greg Lake From 2012 Hartford Courant Retrieved 7 February 2021 a b Farber Jim 9 November 2017 King Crimson talks ever changing band music Foster s Daily Democrat Archived from the original on 2 February 2021 Retrieved 7 February 2021 Greg Lake estate auction coming in May Goldmine 17 April 2019 Retrieved 7 February 2021 Tamm 1990 p 36 a b Shteamer Hank 10 February 2022 Ian McDonald King Crimson and Foreigner Co Founder Dead at 75 Rolling Stone Retrieved 11 February 2022 Hayward Keith 2013 Tin Pan Alley The Rise of Elton John Soundcheck Books p 180 ISBN 9780957570009 Smith Sid June 2010 In The Wake Of Poseidon The Long View dgmlive com Retrieved 24 February 2021 Smith Sid 12 December 2016 Cadence And Cascade And Greg dgmlive com Retrieved 18 July 2022 a b c d e Kelman John 11 November 2017 King Crimson Sailors Tales 1970 1972 All About Jazz Retrieved 24 February 2021 Kelman John 23 April 2005 King Crimson In The Wake Of Poseidon All About Jazz Retrieved 8 March 2021 a b c d e f g Smith Sid 5 December 2021 King Crimson and the making of Islands loudersound com Retrieved 20 December 2021 Eder Bruce Keith Tippett Biography allmusic com Retrieved 24 February 2021 a b Lynch Dave King Crimson Lizard allmusic com Retrieved 2 February 2021 Tamm 1990 p 47 Revisiting King Crimson s Second LP In the Wake of Poseidon Ultimate Classic Rock Retrieved 19 May 2018 a b c Hussey Neil 14 June 2016 Aspic of Love Record Collector Retrieved 7 February 2021 Smith Sid 23 March 2018 Happy Larks Day dgmlive com Retrieved 22 February 2021 Wallace Ian April 2003 Interview with IAN WALLACE dmme net Interview Interviewed by Dmitry M Epstein Retrieved 22 February 2021 a b Sinfield Peter May 2010 Interview Rockerilla Interview Interviewed by Max Marchini Retrieved 25 February 2021 Manfred Pfister Ralf Hertel eds 15 December 2007 Performing National Identity Anglo Italian Cultural Transactions Brill Rodopi p 291 doi 10 1163 9789401205238 ISBN 978 9042023147 S2CID 201339702 Smith Sid March 2010 Islands The Long View dgmlive com Retrieved 26 April 2021 Tamm 1990 p 49 50 Tamm 1990 p 69 Fripp Robert 14 September 1999 Robert Fripp s Diary dgmlive com Retrieved 25 February 2021 Fripp Robert 15 April 1997 King Crimson 1969 A Personal Throughview From The Guitarist dgmlive com Retrieved 25 February 2021 I had difficulties with some of Peter s words on the subsequent Crimson albums as he had with the music on In The Court Peter s words are in a category of their own Planer Lindsay King Crimson Earthbound allmusic com Retrieved 2 February 2021 a b Jones Chris Earthbound USA amp Thrak review BBC Music bbc co uk Retrieved 15 March 2021 Smith Sid 9 June 2022 Earthbound At 50 dgmlive com Retrieved 10 June 2022 a b c d e Bruford Bill Bill Bruford the Autobiography Jawbone Press 2009 Rowell David 28 May 2015 The epic tale of listening to seven live concert recordings by the band Yes in a single day The Washington Post Retrieved 7 February 2021 a b c Smith Sid June 2012 Larks Tongues In Aspic The Long View dgmlive com Retrieved 25 March 2022 Curtiss Ron Weiner Aaron 3 June 2016 John Wetton King Crimson U K Asia The Complete Boffomundo Interview YouTube Archived from the original on 15 September 2016 Retrieved 3 March 2019 Event occurs at 4 34 13 48 Eder Bruce Richard Palmer James Biography allmusic com Retrieved 10 February 2021 Breznikar Klemen 21 August 2020 Richard Palmer James Interview Supertramp King Crimson It s Psychedelic Baby Magazine Archived from the original on 20 October 2020 Retrieved 4 August 2021 Planer Lindsay King Crimson Live at the Zoom Club 1972 allmusic com Retrieved 10 February 2021 Eder Bruce Larks Tongues in Aspic AllMusic Retrieved 29 August 2007 Francis Basil 30 December 2012 Issue 2012 054 King Crimson Special Part 2 Dutch Progressive Rock Page Retrieved 5 March 2021 a b c Bruford Bill Mastelotto Pat November 1995 King Crimson s Bill Bruford amp Pat Mastelotto A Perfect Pair Modern Drummer Magazine Interview No 192 Interviewed by William F Miller Retrieved 4 February 2021 a b Kelman John 22 October 2012 King Crimson Larks Tongues In Aspic 40th Anniversary Series Box All About Jazz Retrieved 22 February 2021 Bruford Bill 29 October 2019 Bill Bruford on His Ups and Downs With Yes and King Crimson Life After Retirement Rolling Stone Interview Interviewed by Hank Shteamer Retrieved 19 February 2022 Fripp Robert 6 December 1973 K Crimson s Fripp Music s Just a Means for Magic Rolling Stone Interview No 149 Interviewed by Cameron Crowe Los Angeles Retrieved 7 February 2021 Eder Bruce Starless and Bible Black AllMusic Retrieved 29 August 2007 Fletcher Gordon 6 June 1974 Starless and Bible Black Rolling Stone Archived from the original on 2 October 2007 Retrieved 29 August 2007 Smith Sid 3 August 2011 Starless amp Bible Black 40th Anniversary Edition dgmlive com Retrieved 22 February 2021 Smith Sid 29 March 2020 The making of King Crimson s Starless And Bible Black loudersound com Retrieved 22 February 2021 Hughes Rob 30 October 2013 King Crimson The Road To Red loudersound com Retrieved 22 February 2021 Tamm 1990 p 66 67 a b Smith Sid May 2009 Red The Long View dgmlive com Retrieved 11 March 2021 Kelman John 20 October 2013 King Crimson The Road To Red All About Jazz Retrieved 11 March 2021 Smith Sid 6 October 2015 On This Date 41 Years Ago dgmlive com Retrieved 11 March 2021 Eder Bruce Red AllMusic Retrieved 29 August 2007 a b c Brackett Nathan 2004 Christian Hoard The new Rolling Stone album guide Palmer Alaska Fireside Books pp 456 457 458 ISBN 0743201698 Archived from the original on 19 January 2010 Tamm 1990 p 66 68 92 23 Jun 1974 Aquinas College Grand Rapids DGM Live 8 March 2004 Retrieved 29 August 2018 Fripp Robert 18 October 1974 Robert Fripp Would Like a Word Trouser Press Interview Interviewed by Ihor Slabicky New York Retrieved 17 March 2021 a b c Shteamer Hank 8 April 2019 King Crimson s 50th Anniversary Press Day 15 Things We Learned Rolling Stone Retrieved 15 March 2021 a b Fripp Robert 6 April 2019 King Crimson Sheer Visceral Power Innerviews Interview Interviewed by Anil Prasad Sid Smith Retrieved 7 March 2021 Article Acton Gazette 17 July 1975 Article Cashbox 10 May 1975 Smith Sid 23 August 2006 The Collectable King Crimson Competition dgmlive com Retrieved 7 February 2021 Tamm 1990 p 10 73 110 Prato Greg Adrian Belew AllMusic Retrieved 29 August 2007 Tamm 1990 p 29 111 Tamm 1990 p 111 a b Smith Sid June 2011 Discipline The Long View dgmlive com Retrieved 24 February 2021 Fripp Robert 7 September 2005 Robert Fripp s Diary DGM HQ dgmlive com Retrieved 24 February 2021 Brown Mick 11 May 1981 Robert Fripp s Discipline the Lounge Lizards Her Majesty s Theatre London The Guardian Retrieved 24 February 2021 Tamm 1990 p 116 Prato Greg Discipline AllMusic Retrieved 29 August 2007 Woodard Josef 20 May 1993 ROBERT FRIPP Pioneering Progressive Rock Guitar Guru Returns Los Angeles Times Retrieved 7 February 2021 Smith Sid 10 June 2019 King Crimson Record Collector Retrieved 7 June 2022 Anderson Rick King Crimson Discipline allmusic com Retrieved 20 May 2022 Tamm 1990 p 117 a b Palmer Robert 20 May 1984 King Crimson Despite Upheaval The Band Plays On The New York Times Retrieved 7 February 2021 Banks Joe 26 April 2017 King Crimson 10 of the best theguardian com Retrieved 24 February 2021 a b Strauss Neil 22 November 1995 POP REVIEW Double A Trio And the Music Debates The New York Times Retrieved 15 May 2022 a b Kelman John 13 November 2016 King Crimson On And Off The Road All About Jazz Retrieved 22 February 2021 Palmer Robert 1 November 1981 Why Robert Fripp Resurrected King Crimson The New York Times Retrieved 7 February 2021 Fitzsimons Jim Arthur Douglas 29 August 2014 Never Found in the 80s King Crimson Tampa Bay Times Retrieved 18 February 2022 a b Smith Sid 18 June 2014 It Was On This Date In 1982 dgmlive com Retrieved 22 February 2021 Fripp Robert 12 June 2013 Robert Fripp s Diary Bredonborough dgmlive com Retrieved 22 February 2021 Browning Boo 29 July 1982 Homage to the Gurus of Beat The Washington Post Retrieved 22 February 2021 Palmer Robert 14 July 1982 The Pop Life The New York Times Retrieved 22 February 2021 Prato Greg King Crimson Heartbeat allmusic com Retrieved 22 February 2021 Barnes Mike 26 September 2016 King Crimson Beat Three Of A Perfect Pair album review loudersound com Retrieved 22 February 2021 Tamm 1990 p 9 120 Smith Sid 18 June 2020 Happy Birthday Beat dgmlive com Retrieved 21 April 2021 Tamm 1990 p 119 120 Smith Sid May 2016 Three Of A Perfect Pair The Long View dgmlive com Retrieved 7 February 2021 Puterbaugh Parke 10 May 1984 Album Reviews King Crimson Three of a Perfect Pair Rolling Stone Archived from the original on 2 May 2009 Retrieved 11 March 2021 Himes Geoffrey 29 June 1984 King Crimson s 3 Pair The Washington Post Retrieved 7 February 2021 King Crimson Three of a Perfect Pair 30th Anniversary Edition shop schizoidshop com Retrieved 4 February 2021 Reed Ryan 3 February 2017 King Crimson Beat amp Three of a Perfect Pair Relix Retrieved 26 February 2021 King Crimson Absent Lovers shop schizoidshop com Retrieved 17 February 2021 Weigel David 2017 The Show That Never Ends The Rise and Fall of Prog Rock W W Norton amp Company pp 267 268 ISBN 9780393356021 Bruford Bill 1998 Bill Bruford Ferocious Intensity Innerviews Interview Interviewed by Anil Prasad Retrieved 7 March 2021 And it s certainly not me that precipitates these long pauses in King Crimson s career either it s always Robert Fripp who wants to stop and have 10 years off We do move along in a rather torturous manner a b Fripp Robert 22 March 1995 ROBERT FRIPP Round Table Interview Interview Interviewed by Michael Black Virgin records New York City Retrieved 7 February 2021 a b Deming Mark Robert Fripp Biography allmusic com Retrieved 4 February 2021 a b Tingen Paul June 1994 David Sylvian Recording Tin Drum amp The First Day Sound on Sound Retrieved 23 November 2021 Gunn Trey 1994 Trey Gunn Interlocking Contexts Innerviews Interview Interviewed by Anil Prasad Retrieved 22 February 2021 Fricke David June 1993 The Return Of The Crimson King Rolling Stone Retrieved 27 November 2021 a b Gunn Trey Marotta Jerry 2018 Security Project Looking for a Spark Innerviews Interview Interviewed by Anil Prasad Retrieved 22 November 2021 Prasad In June 1993 both Jerry and Trey were announced as members for what would become King Crimson s THRAK lineup Why did you not end up in the final lineup Jerry Marotta I did the Sylvian Fripp record The First Day with Robert in 1993 and then there was a tour for it that I didn t do Pat Mastelotto was the drummer for that tour I think Robert felt Pat was more suited for King Crimson than I was I had never heard a King Crimson record back then I wasn t a fan I never lobbied for the position I didn t know what to think of it What happened is there was a conversation with Robert afterwards during which he said Jerry you re a fantastic drummer You re just not the right drummer for King Crimson and that was the end of it Easlea Daryl 7 October 2015 Peter Gabriel The Story Behind His Remastered Early Albums loudersound com Retrieved 22 November 2021 Lindsay Planer Robert Fripp David Sylvian Damage Allmusic Retrieved 22 November 2021 a b Gioffre Daniel THRAK AllMusic Retrieved 29 August 2007 Kopp Bill 20 August 2021 Brutal Finesse A Preview of King Crimson at Ravinia Newcity Archived from the original on 21 August 2021 Retrieved 17 February 2022 Bambarger Bradley 2 February 1998 King Crimson THRAK 1995 album review Rolling Stone Archived from the original on 19 September 2008 Retrieved 19 May 2018 a href Template Cite magazine html title Template Cite magazine cite magazine a CS1 maint bot original URL status unknown link a b Kelman John 25 October 2015 King Crimson THRAK BOX Live And Studio Recordings 1994 1997 All About Jazz Retrieved 22 February 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Burningshed com Archived from the original on 7 October 2016 Retrieved 19 May 2018 Planer Lindsay Happy With What You Have to Be Happy With AllMusic Retrieved 29 August 2007 Planer Lindsay The Power to Believe AllMusic Retrieved 29 August 2007 Fripp Robert 1 November 2002 Robert Fripp s Diary Bredonborough dgmlive com Retrieved 22 February 2021 King Crimson The Power To Believe 40th Anniversary Series shop schizoidshop com Retrieved 22 February 2021 Fripp Robert 20 November 2003 Robert Fripp s Diary Hotel Quite Acceptable Mexico City dgmlive com Retrieved 10 February 2021 Fripp Robert 11 January 2006 Robert Fripp s Diary DGM HQ dgmlive com Retrieved 10 February 2021 Fripp Robert 26 October 2003 Robert Fripp s Diary Hotel Continuing to Be Acceptable dgmlive com Retrieved 7 February 2021 Fripp Robert 14 November 2003 Robert Fripp s Diary Crimbus Outside Hotel Adequate The Charm Of Which Is Fading dgmlive com Retrieved 7 February 2021 Fripp Robert 27 February 2004 Robert Fripp s Diary Hotel Quite Acceptable Paris dgmlive com Retrieved 7 February 2021 Eder Bruce Boz Burrell Biography allmusic com Retrieved 7 March 2021 Eder Bruce Ian Wallace Biography allmusic com Retrieved 7 March 2021 Kelman John 4 September 2008 King Crimson Park West Chicago Illinois August 7 2008 All About Jazz Retrieved 7 March 2021 a b Smith Sid 10 September 2014 The Return Of The King loudersound com Retrieved 7 February 2021 Fripp Robert 29 October 2008 Robert Fripp s Diary Bredonborough dgmlive com Retrieved 7 February 2021 Smith Sid 11 February 2014 The Crimson ProjeKCt Live In Tokyo loudersound com Retrieved 5 February 2022 Belew Adrian 23 June 2009 Part II King Crimson s Adrian Belew Crawdaddy Interview Interviewed by Max Mobley Archived from the original on 12 February 2010 Belew Adrian 15 June 2010 Interview with Adrian Belew The Guitar Man The Aquarian Interview Interviewed by Patrick Slevin Retrieved 5 February 2022 Adrian Belew blog posting 15 June 2010 Elephant blog blogspot com 15 June 2010 Retrieved 16 July 2011 It Doesn t Matter Where You Take It From it s Where You Take It To That Counts Billbruford com 14 July 2010 Retrieved 10 June 2022 a b Fripp Robert 5 December 2010 Robert Fripp s Diary Marriot Downtown 85 West Street NYC dgmlive com Retrieved 7 March 2021 Kelman John 27 May 2011 Jakszyk Fripp amp Collins A Scarcity Of Miracles All About Jazz Retrieved 7 March 2021 Smith Sid 2011 Jakszyk Fripp and Collins A Scarcity of Miracles Review BBC Retrieved 7 March 2021 a b Coplan Chris 26 September 2013 King Crimson announce reunion for 2014 Consequence of Sound Retrieved 7 March 2021 Bredonborough Rising with Devil Bug Robert Fripp s Diary Discipline Global Mobile 6 September 2013 Retrieved 26 July 2017 Fripp Robert 24 September 2013 Robert Fripp s Diary Bredonborough Retrieved 7 March 2021 Powers Ann 29 September 2011 Talking Shop With Bill Rieflin Journeyman Musician NPR Retrieved 22 February 2021 Smith Sid 24 September 2013 New King Crimson Line up Confirmed Dgmlive com Retrieved 15 March 2021 King Crimson unveil new line up and 2014 tour plans Uncut 25 September 2013 Retrieved 7 March 2021 Zivitz Jordan 9 November 2015 King Crimson s Tony Levin and Gavin Harrison the complete conversation Montreal Gazette Postmedia Network Retrieved 11 December 2015 Reed Ryan 2 June 2014 King Crimson Reunite for 17 Show Run This Fall Rolling Stone Retrieved 7 March 2021 Fricke David 10 September 2014 King Crimson in Albany The Best New Band in Prog Begins a U S Tour Rolling Stone Retrieved 7 March 2021 Smith Sid 1 July 2015 King Crimson In Japan 2015 dgmlive com Retrieved 7 March 2021 Munro Scott 7 March 2016 King Crimson call up drummer Jeremy Stacey loudersound com Retrieved 9 February 2021 Savage Mark 8 December 2016 Greg Lake King Crimson and ELP star dies aged 69 BBC Retrieved 9 February 2021 Trendell Andrew 31 January 2017 Asia frontman ex King Crimson bassist John Wetton dies NME NME Retrieved 31 January 2017 Bredonborough Dgmlive com 3 January 2017 Retrieved 19 May 2018 Young Alex 9 January 2017 King Crimson to tour the US in 2017 and they re bringing along four drummers Consequence of Sound Retrieved 11 March 2021 Smith Steve 22 May 2017 King Crimson s Bill Rieflin on Summer Tour Bowie Cover Band s Future Rolling Stone Retrieved 11 March 2021 Fripp Robert 21 April 2017 Robert Fripp s Diary Breakfasting Trough Hotel Acceptable Bedford Dgmlive com Retrieved 25 April 2020 Smith Sid 27 April 2017 Crimson Release Heroes Ep Dgmlive com Retrieved 19 May 2018 Munro Scott 15 September 2017 Marillion Anathema Steve Hackett among Progressive Music Award winners loudersound com Retrieved 15 March 2021 Young Alex 11 May 2017 King Crimson announce full details of 2017 tour plus David Bowie tribute EP Consequence of Sound Retrieved 16 March 2021 King Crimson to release Official Bootleg and more Goldmine 9 October 2017 Retrieved 16 March 2021 Smith Sid 4 September 2017 Peace a new beginning DGM Live Smith Sid 13 October 2017 Chris Gibson joins Crim DGM Live Munro Scott 22 November 2017 King Crimson announce Uncertain Times UK and European tour loudersound com Retrieved 15 March 2021 Scaravilli Mariana 2 May 2019 Irreplaceable Billness dgmlive com Retrieved 7 February 2021 Solomon Jon 6 September 2019 Fifty Years of Prog Rock Wizardry With King Crimson Westword Retrieved 11 March 2021 Levin Tony 9 June 2019 Tony Levin s Road Diary Leipzig Warmup Young Alex 11 June 2019 King Crimson s catalog now available on Spotify Consequence of Sound Retrieved 9 August 2019 Bill Rieflin Drummer for King Crimson R E M Ministry Dead at 59 Rolling Stone 24 March 2020 Retrieved 25 April 2020 Former King Crimson Bassist and Singer Gordon Haskell Dies at 74 Billboard 18 October 2020 Retrieved 7 March 2021 Graff Gary 26 August 2021 King Crimson to visit on latest final North American tour The Oakland Press Retrieved 26 August 2022 Ewing Jerry 20 October 2021 King Crimson announce new 2021 live album loudersound com Retrieved 26 August 2022 Music Is Our Friend Live in Washington D C amp Albany AllMusic Retrieved 26 August 2022 Mead David 25 August 2022 Robert Fripp in depth his quest to combine Hendrix and Bartok what made King Crimson problematic and why he has no interest in gear at all Guitar World Retrieved 26 August 2022 Browne David 14 July 2022 King Crimson s Robert Fripp Sets Fall Release for Band Doc But Another Tour Only to Prevent World War III Rolling Stone Retrieved 29 August 2022 Smith Steve 16 December 2022 Tony Levin Metrograph Retrieved 19 January 2023 Eder Bruce Michael Giles Biography allmusic com Retrieved 4 February 2021 Staff Rovi Jakko M Jakszyk Biography allmusic com Retrieved 4 February 2021 Jakszyk Jakko 2019 Jakko Jakszyk Giving Voice Innerviews Interview Interviewed by Anil Prasad Retrieved 26 February 2021 Smith Sid 24 September 2016 Stick Men discuss King Crimson Prog Noir and livingthedream loudersound com Retrieved 14 March 2021 Reuter Markus 2015 Markus Reuter Gates of Perception Innerviews Interview Interviewed by Anil Prasad Retrieved 5 February 2021 Sullivan Mark 19 January 2018 Stick Men Featuring Mel Collins Roppongi All About Jazz Retrieved 7 February 2021 Reuter Markus 19 October 2010 Markus Reuter R Evolutionary Touch Guitarist All About Jazz Interview Interviewed by Jeffrey L Melton Retrieved 16 February 2021 Levin Tony Reuter Markus Slick Julie March 2014 Interview with THE CRIMSON PROJEkCT dmme net Interview Interviewed by Dmitry M Epstein Retrieved 16 February 2021 Chamberlain Rich 7 March 2014 Adrian Belew talks Crimson ProjeKCt gear and Nine Inch Nails musicradar com Retrieved 7 February 2021 Things to Do in Westchester Aug 9 to 15 2015 The New York Times 6 August 2015 Archived from the original on 3 January 2022 Retrieved 7 February 2021 Joyce Mike 19 May 1992 Adrian Belew The Washington Post Retrieved 10 February 2021 Hidding Iris 19 January 2018 LizZard amp Adrian Belew Power Trio backgroundmagazine nl Retrieved 7 February 2021 Tady Scott 30 March 2019 Adrian Belew says see him while you can The Beaver County Times Retrieved 10 February 2021 Pete Prown HP Newquist 1997 Legends of Rock Guitar The Essential Reference of Rock s Greatest Guitarists Hal Leonard Corporation p 78 ISBN 978 0 7935 4042 6 British art rock groups such as the Nice Yes Genesis ELP King Crimson the Moody Blues and Procol Harum Macan Edward 1997 Rocking the Classics English Progressive Rock and the Counterculture Oxford University Press ISBN 978 0 19 509887 7 McCormick Neil 12 March 2016 Keith Emerson the father of progressive rock was the Jimi Hendrix of keyboards The Telegraph Archived from the original on 11 January 2022 Smith Sid 5 July 2018 On This Day 49 Years Ago dgmlive com Retrieved 24 February 2021 Smith Sid 13 January 2006 Happy Birthday KC dgmlive com Retrieved 24 February 2021 Kelman John 4 October 2010 King Crimson In The Wake Of Poseidon 40th Anniversary Series All About Jazz Retrieved 24 February 2021 Sanneh Kelefa 12 June 2017 The Persistence Of Prog Rock The New Yorker Retrieved 24 February 2021 Gaffney Annie 1 December 2004 In the Court of the Crimson King ABC Gold amp Tweed Coasts abc net au Archived from the original on 27 May 2006 Retrieved 29 August 2007 a b Unterberger Richie I Talk to the Wind at AllMusic Retrieved 16 September 2011 King Crimson it is not often noted had some folk and folk rock influences in their very early days and the Giles Giles amp Fripp collaborations predating King Crimson I Talk to the Wind is the track that most reflects these folk influences and the influence of co songwriter Ian McDonald only a bandmember for the first album in particular Coming right after the assaultive jazz prog rock of 21st Century Schizoid Man the first track on their debut album in the Court of the Crimson King An Observation by King Crimson this gentle subdued folky ballad was quite a contrast and served notice that King Crimson was more versatile than your average new band a b Unterberger Richie Moonchild The Dream The Illusion at AllMusic Retrieved 16 September 2011 Moonchild along with I Talk to the Wind was the clearest link to the folk influences borne by King Crimson on its first album the only one that included Ian McDonald and Michael Giles among the personnel The first three minutes or so of Moonchild really the three minutes that are all that most listeners remember well comprise a delicate folky poetic ballad Fripp Robert 11 March 2001 Robert Fripp s Diary Nashville dgmlive com Retrieved 20 May 2022 Tamm 1990 p 20 Rhythm at the heart of the expanded King Crimson fee required The Boston Globe nl newsbank com 3 June 1995 Retrieved 24 June 2007 Carter Nick 17 March 2003 King Crimson a study in contrasts Milwaukee Journal Sentinel jsonline com Archived from the original on 29 September 2007 Retrieved 24 June 2007 the band manages to break free of all the aural fog as it did on the rhythmically romping Dangerous Curves and The World s My Oyster Soup Kitchen Floor Wax Museum Whitney Bruce 17 March 2005 Don t miss this one from Cat Stevens Majikat is pure magic fee required North Adams Transcript nl newsbank com Retrieved 24 June 2007 King Crimson esque polyrhythm Tamm 1990 p 64 65 a b Tamm 1990 p 59 Tamm 1990 p 69 120 Tamm 1990 p 64 A different shade of King Crimson red hot fee required The Atlanta Journal Constitution nl newsbank com 22 July 2001 pp L4 Retrieved 24 June 2007 It s not the diddling noodling kind of improvising often associated with jazz This has an aggressive muscular sound that open minded listeners can find just as rewarding as it is challenging Couture Francois King Crimson The Great Deceiver allmusic com Allmusic Henderson Paul 7 February 2007 King Crimson Court In Session loudersound com Retrieved 27 November 2021 Peart Neil January 2003 Neil Peart Speaks With Zildjian Zildjian Interview Archived from the original on 6 December 2003 Jabbour Debbie 5 October 2002 From My Perspective Tool Concert PDF Edmonton Journal ausu org Archived from the original PDF on 25 May 2005 Retrieved 24 June 2007 Their roots lie with seminal alternative band King Crimson August September 2001 newsletter Tool official website toolband com Archived from the original on 2 May 2013 Retrieved 29 August 2007 Larzen Geir Mars Volta MonsterMagazine no in Norwegian Archived from the original on 14 February 2005 Retrieved 20 February 2017 Q Dette til tross du kan ikke nekte for a vaere utpreget influert av King Crimson og Robert Fripp Omar Rodriguez Lopez Selvfolgelig ikke Jeg gjor faktisk ingen forsok pa a skjule min affekt for Fripps arbeider ble jeg introdusert for King Crimson og pa nytt kollapset alt men pa en konstruktiv mate Q You can t deny that you re influenced by Robert Fripp and King Crimson right Omar Rodriguez Lopez No of course not I make no attempt to hide my affection for Fripps work I was introduced to King Crimson and again everything collapsed but in a constructive way Schafer Joseph 7 February 2013 Deconstructing The Rise Demise And Legacy Of The Mars Volta Stereogum Retrieved 20 February 2017 In contrast De Loused skips Tribute s Faith No More worship and leaps straight to King Crimson their most important influence more on this later Reymond Laurent 19 September 2011 Primus Les Claypool www heavymusic fr in French Retrieved 4 March 2017 Q J ai toujours pense que Elephant Talk de King Crimson avait servi de base au style de Primus Qu en penses tu Les Claypool Je ne sais pas si cette chanson en particulier nous a servi de base pour creer Primus mais il est clair qu a l epoque nous etions tous fans de cette incarnation de King Crimson et Tony Levin Adrian Belew Robert Fripp et Bill Bruford comptaient parmi nos plus grandes influences Tony Levin encore plus d ailleurs car a mon sens il est le meilleur bassiste du monde et celui qui joue avec le plus de gout Q I always thought that King Crimson s Elephant Talk was the basis of Primus s style What do you think Les Claypool I do not know if this particular song served as a basis for creating Primus but it is clear that at the time we were all fans of this incarnation of King Crimson and Tony Levin Adrian Belew Robert Fripp and Bill Bruford were among our greatest influences Tony Levin even more because in my opinion he is the best bass player in the world and the one who plays with the most taste Say Cheese Kerrang No 343 1 June 1991 Les Claypool I d say the band is a lot more like King Crimson the latter version with Tony Levin who s one of my big heroes I ve always liked weird abstract stuff That s why I asked Larry to join the band and not some Joe Satriani clone Not that I don t like that type of playing but I m big on people like Adrian Belew Carter Hana 20 March 2016 INTERVIEW Mystery Jets TheMetropolist com Retrieved 25 February 2017 Q Which artists do you take inspiration from Blaine Harrison Pink Floyd and King Crimson are major influences Maassen Marjolein Interview Mystery Jets English version KillerMagazine nl Retrieved 25 February 2017 Over the years there have been many bands and artists who have formed what we do whether that s King Crimson Matt 13 February 2014 A Heart Is A Spade Interview Fanfarlo www aheartisaspade com Archived from the original on 5 March 2017 Retrieved 4 March 2017 There s a whole raft of other stuff that we ve been drawing inspiration from though for instance we were listening a lot to progressive and space rock while making the record like King Crimson Aledort Andy 30 September 2013 Phish Scales Trey Anastasio Breaks Down His Improvisation Techniques Guitar World Retrieved 23 July 2019 Oh yeah I love progressive rock I m a big fan of Robert Fripp guitarist and founder of Sixties Seventies progressive rock masters King Crimson GW Ed and I still love a lot of his stuff I was especially into his work with Brian Eno on albums such as Another Green World and I was really into King Crimson s Larks Tongues in Aspic which is one of my all time favorite albums I like Red too Then there s the stuff he did later for his Discipline Records label The patterny thing that Fripp is known for had a big influence on me Nicholas Steve January 2001 Anekdoten One of Sweden s brightest exports discusses the band s work and future Ghostland com Archived from the original on 25 February 2003 Retrieved 21 February 2017 When Nicklas Peter and I started playing together in the middle of 1990 we played covers The first song that we started rehearsing was Larks Tongues in Aspic Part 2 the second was Lament and I believe that the third one was Red We wanted to see if we could pull off playing Crimso songs primarily from the Wetton era as this was our main source for inspiration at the time Moon Grant October 2011 Steven Wilson I Can t Emphasise How Much I Learned Working With King Crimson Prog loudersound com published 26 September 2016 Retrieved 15 March 2021 Krul Govert 104 Porcupine Tree s Steven Wilson Hoe een soloalbum de basis legt voor de beste teamprestatie ooit Progwereld org in Dutch Amsterdam Archived from the original on 22 February 2017 Retrieved 21 February 2017 We kunnen hier winnen noch verliezen eigenlijk maar deze band vormt samen met King Crimson toch wel de belangrijkste inspiratiebron We can win here or actually lose but this band Pink Floyd together with King Crimson got to be the main source inspiration Flaming Lips Release Remake of King Crimson Album Rolling Stone 13 November 2012 Retrieved 25 February 2017 Ham Robert 31 January 2017 Wire s Colin Newman on the Music That Made Him Pitchfork Retrieved 27 February 2017 In the period before I was living in London I saw King Crimson more than any other band and they had the biggest effect on me They were so serious 21st Century Schizoid Man is just get it out put it on the table and deal with that The combination of heaviness technical brilliance and sheer bonkers arrangements was unbelievable You don t know whether to be petrified or burst out laughing Shteamer Hank July 2012 9 GREG GINN Heavymetalbebop com Manhattan New York City Archived from the original on 24 November 2017 Retrieved 9 December 2017 Shteamer Hank April 2011 Heavy Metal Be Bop 4 Interview with Melvin Gibbs Invisible Oranges Brooklyn published 24 June 2011 Retrieved 23 February 2017 Melvin Gibbs And like I said with Rollins Band King Crimson was a big part of it You could almost pick out riffs sometimes INTERVIEW 041 Chris Haskett Rollins Band Thisisfubarproductions tumblr com Retrieved 23 February 2017 Chris Haskett the biggest ones that influenced the playing I did in the Rollins Band would have to be the Red Starless amp Bible Black Lark s Tongue era King Crimson work of Fripp Gates Kenny 30 November 2015 A fitting Epitaph Brett Gurewitz on punk rock independence and making it big Pias com Archived from the original on 1 August 2017 Retrieved 23 February 2017 Interview Musician s Friend s Artist Spotlight Exclusive Interview A conversation with Vernon Reid www musiciansfriend com 27 July 2010 Retrieved 26 April 2017 Robert Fripp is definitely another one who I would consider an influence Wagner Jeff 2010 Mean Deviation Four Decades of Progressive Heavy Metal Bazillion Points p 1 ISBN 978 0 9796163 3 4 Rivadavia Eduardo 6 June 2018 The Roots of Progressive Metal in 11 Songs loudwire com Retrieved 7 February 2021 October 2016 Christina O Neill06 6 October 2016 Opeth discuss their prog influences Prog Magazine Retrieved 30 June 2020 Morgan Anthony 2 November 2008 Quintessence Mastodon vocalist bassist Troy Sanders spills the worms regarding fourth studio album Crack the Skye LucemFero com Cardiff United Kingdom Archived from the original on 1 May 2011 Retrieved 20 February 2017 Troy Sanders As far as Prog Rock goes we all love King Crimson Roughly ten years ago our guitarist Brent introduced me to King Crimson I ve fallen in love with the group and listen to their material all the time Alexis 3 March 2005 Mastodon Interview Nantes France Archived from the original on 23 December 2010 Retrieved 20 February 2017 Brann Dailor We are influenced by lots of different things kinds of music life experiences Our common ground musically is Neurosis and Melvins and Thin Lizzy but there s lots of stuff old thrash 70 prog rock King Crimson Westland Raymond July 2015 O Interview Dan Briggs from Between the Buried and Me EchoesAndDust com Retrieved 21 February 2017 Q Now you mention it there are some fairly strong King Crimson and Yes references to be found Dan Briggs Yes that s exactly what I mean These influences are a part of our music since the Alaska days a good ten years ago King Crimson is a particular big influence We actually covered Three Of A Perfect Pair in 2006 It s always been there really but it seems to become more dominant lately It s fun because it s a big part of our musical makeup and it s still relevant to us who we are as musicians at this point in our career Bacon Matt 22 December 2015 Farts and Aging an Interview with Between The Buried And Me Toiletovhell com Archived from the original on 24 December 2015 Retrieved 9 December 2017 Blake Richardson King Crimson is an influence of course Maybe not so much musically but rhythmically there is a lot of stuff I try to emulate that they do Chirulescu Andrea 3 April 2010 Leprous prog metal revelation from Norway StudioRock ro Oslo Norway published 7 April 2010 Retrieved 21 February 2017 Washington Anthony 29 May 2015 Interview 20 Minutes With Einar Solberg metromontage com Archived from the original on 31 January 2016 Retrieved 9 December 2017 An Interview with Ross Jennings TheProgMind com 14 April 2014 Retrieved 21 February 2017 the 80s King Crimson records Discipline Beat amp Three of a perfect Pair were also a reference point for us Magnotta Andrew 31 July 2013 An Interview with The Ocean Permanence The Aquarian Retrieved 7 March 2017 Robin Staps Crimson has always been an influence for me since I started this band at the turn of the millennium Morten Okkerholm Robert Bergstein Larsen 29 October 2015 Interview med Caligula s Horse www rockzeit dk Copenhagen Denmark published 6 November 2015 Retrieved 27 February 2017 Cavaliere Gabe 29 May 2012 Interview with Michael Lessard of Last Chance to Reason Dermetalkrieger com Retrieved 25 February 2017 Q Your new album Level 2 was such an incredible album What bands helped to influence this album and how did they do that Michael Lessard King Crimson was a big influence The way they re constantly evolving and pushing the limits rhythmically and harmonically with their music is really something else They manage to be so abstract yet digestible Indukti Interview www powerofmetal dk 26 February 2006 Retrieved 24 March 2017 Sheaffer Caleb 9 April 2003 Mudvayne brings tongue in cheek sensibility to BJC show The Daily Collegian Retrieved 4 March 2017 Inspiration for Mudvayne came from bands such as Emperor King Crimson and Porcupine Tree McDonough said Murphy Tom 26 February 2015 Voivod Brought its Prog Rock Inspired Metal to Denver Westword Retrieved 8 March 2017 O Hagar Sammy 4 November 2008 ENSLAVED S GRUTTLE KJELLSON THE METALSUCKS INTERVIEW MetalSucks Retrieved 8 March 2017 Benek Enslaved Interview metalist co il Archived from the original on 21 August 2017 Retrieved 9 December 2017 Brown Kit 18 February 2015 Mike Scheidt of Yob The Heavy Blog Is Heavy Interview published 20 February 2015 Retrieved 4 March 2017 Mike Scheidt I wouldn t say that we re a progressive rock band but we do have some of those elements and King Crimson is definitely a big influence on us Palermo Domenic 10 March 2014 Sxsw 2014 Artist to Artist Interviews Nothing Vs Pyrrhon www cvltnation com Austin Texas U S Retrieved 14 April 2017 Doug Moore We also draw on jazz and 70s prog a fair amount especially for the improvisational side of our sound Mahavishnu Orchestra and King Crimson are consensus favorites of ours A Mattia 15 May 2015 CVLT Nation Interviews Pallbearer Tour Dates www cvltnation com Retrieved 7 March 2017 Q Who would you say are Pallbearer s biggest influences Joseph D Rowland Black Sabbath Pink Floyd Robin Trower King Crimson Tsimplakos Jason 5 November 2013 The Dillinger Escape Plan interview Rocking gr Glasgow Scotland published 25 November 2013 Retrieved 23 February 2017 Samudrala Ram 17 October 2000 Q amp A with Scott Kelly of Neurosis www ram org Retrieved 26 February 2017 Frank Oliver Kollar Balint May 2015 Zeni Geva interview 2015 05 japanvibe net published 1 July 2016 Retrieved 4 March 2017 Q Zeni Geva s sound is quite unique so I wonder what were your main musical inspirations when you started the band KK Null Swans Slayer Art Bears King Crimson etc Heavy Metal Time Machine Ancestors interview ancestorsmusic com 28 July 2008 Archived from the original on 2 May 2013 Retrieved 7 March 2017 Q Who are your musical influences Justin Maranga Our influences are pretty diverse but some are definitely more prevalent than others I d say that Pink Floyd and King Crimson are probably our biggest influences Spyros 12 September 2013 CVLT Nation Interviews Oranssi Pazuzu www cvltnation com Archived from the original on 25 October 2014 Retrieved 7 March 2017 Mielke James 15 February 2008 A Day in the Life of Final Fantasy s Nobuo Uematsu 1UP com p 3 Archived from the original on 29 May 2016 Retrieved 23 February 2021 Ned s Exclusive Interview with NOBUO UEMATSU Composer of Final Fantasy and Earthbound Papas WGRD FM 19 December 2011 Archived from the original on 4 January 2012 Retrieved 23 February 2021 Fifteen Questions with MERZBOW Lost and found www 15questions net Retrieved 27 February 2017 We were profoundly affected by King Crimson s Earthbound Melton Jeff December 2001 Dennis Rea interview in Expose magazine www dennisrea com Retrieved 8 March 2017 Rosal Garaizabal Borja 28 October 2008 JUANA MOLINA Elixir de la eterna juventud www mondosonoro com in Spanish Retrieved 8 March 2017 Kantrowitz Sean 6 March 2007 RJD2 Gives You His Third Hand Okayplayer Archived from the original on 27 October 2011 Retrieved 13 March 2017 Adrian Younge Is Timeless noisey vice com Vice 15 October 2013 Retrieved 12 March 2017 Q Do you think you ll ever leave that soul music chamber Adrian Younge Never Oddly enough I plan to commence work on more psychedelic rock records however the psychedelic rock I m inspired by has a lot of soul like King Crimson Iron Butterfly Bo Hansson etc Schamus James Fall 1992 The simple laws of filmmaking Filmmaker Retrieved 12 March 2017 Hal Hartley I made a list of all the influences I could remember from the time I was 18 to the present Here it goes Robert Fripp and King Crimson Fioraso Remington 15 July 2015 Interview Ian Kelly canadianbeats ca Retrieved 13 March 2017 General references EditBuckley Peter 2003 The Rough Guide to Rock London Rough Guides ISBN 1 85828 201 2 Tamm Eric 1990 Robert Fripp From Crimson King to Crafty Master Faber and Faber ISBN 978 0571129126 External links EditKing Crimson at Wikipedia s sister projects Media from Commons Data from Wikidata Discipline Global Mobile Live Crimson Jazz Trio Elephant Talk ProjeKction King Crimson discography at Discogs King Crimson at IMDb Retrieved from https en wikipedia org w index php title King Crimson amp oldid 1136398165, wikipedia, wiki, book, books, library,

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