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King Crimson

February 18, 2024

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

King Crimson were an English progressive rock band formed in 1968 in London. The band drew inspiration from a wide variety of music, incorporating elements of classical, jazz, folk, heavy metal, gamelan, blues, 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 earned a large cult following.[2][3]

King Crimson
King Crimson at the Sapporo Culture Arts Theatre in Japan, on 2 December 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
DiscographyKing Crimson discography
Years active
  • 1968–1974
  • 1981–1984
  • 1994–2008
  • 2013–2021
Labels
Spinoffs
Spinoff of
Past members
Websitedgmlive.com

Founded by Robert Fripp, Michael Giles, Greg Lake, Ian McDonald and 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, the next two albums In the Wake of Poseidon and Lizard (both 1970) were recorded during a period of instability in the band's line-up. A settled band of Fripp, Sinfield, Mel Collins, Boz Burrell and Ian Wallace recorded Islands in 1971, though in mid-1972, Fripp let go of this line-up and 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). King Crimson disbanded at the end of 1974.

After seven years of inactivity, King Crimson was reborn in 1981 with another change in musical direction. The new band comprised Fripp, Bruford and new members Adrian Belew and Tony Levin. They drew influence from African music, gamelan, post-punk and New York minimalism. This band 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, they reformed in 1994, adding Pat Mastelotto and Trey Gunn for a sextet line-up Fripp called "The Double Trio". The double trio 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 and 2000. Four members of the double trio 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.

History edit

1967–1968: Giles, Giles and Fripp edit

Main article: Giles, Giles and Fripp

In August 1967, brothers Michael and Peter Giles, drummer and singer/bassist respectively and 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] 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]

1968–1970: Original line-up and In the Court of the Crimson King edit

The first incarnation of King Crimson—Robert Fripp, Michael Giles, Greg Lake, Ian McDonald and Peter Sinfield—was formed on 30 November 1968 with rehearsals beginning 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's first live performance was at the Speakeasy in London on 9 April 1969 (with Yes guitarist Peter Banks among the audience).[22] Their big breakthrough came on 5 July 1969 by playing as a support act at the Rolling Stones' free concert in Hyde Park, London before an estimated 500,000 people.[23][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."[24] The album contains Sinfield's gothic lyrics and its sound was described as having "dark and doom-laden visions".[25][26] 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][27] 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.[28][29] 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][27][29][24]

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,[30] 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 after the conclusion of the US tour in January 1970.[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.[31] McDonald later said he "was probably not emotionally mature enough to handle it" and made a "rash decision to leave without consulting anyone".[32] 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 and in 2010 on the In the Court of the Crimson King (1969) box set.

1970–1971: In the Wake of Poseidon and Lizard edit

King Crimson spent 1970 in a state of flux with various line-up changes, thwarted tour plans, and difficulties in finding a satisfactory musical direction while Fripp was learning and developing as a songwriter during the writing process of the next three albums.[33] As well as guitar, Fripp took on keyboard duties, while Sinfield expanded his creative role to operating synthesizers.

Following McDonald and Giles' departure, Lake, unsure of the band's future without them, began discussions with Keith Emerson of the Nice about possibly forming a new band together. With Fripp and Sinfield planning for recording the second King Crimson album, and Lake's position uncertain, the band's management booked Elton John to sing the material as a session musician, but Fripp decided against this idea after listening to his Empty Sky album.[34] Lake agreed to stay with the band until Emerson had completed remaining commitments with the Nice, at which point he left to form Emerson, Lake and Palmer. On the resulting In the Wake of Poseidon album, Lake provided all the lead vocals except on "Cadence and Cascade", as he left before he was able to complete this track. Fripp's old school friend Gordon Haskell was brought in to provide the vocal on the song.[35][36] The sessions also included Michael and Peter Giles on drums and bass respectively,[35][37] saxophonist Mel Collins (formerly of the band Circus)[38] and jazz pianist Keith Tippett.[39] 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.[40] With no set band to perform the new material, Fripp and Sinfield kept Mel Collins on board, with Gordon Haskell joining as lead vocalist and bassist, and Andy McCulloch joining as drummer. In addition to saxophone, Collins would also act as occasional keyboard player and backing vocalist.[41][39]

Fripp and Sinfield wrote the third album, Lizard, themselves – with Haskell, Collins and McCulloch having no say in the direction of the material. In addition to the core band, several session musicians contributed to the Lizard recording, including the returning Keith Tippett, who was offered full band membership but preferred to remain an occasional guest musician,[42] and two members of Tippett's band, Mark Charig on cornet, and Nick Evans on trombone. Robin Miller (on oboe and cor anglais) also appeared, while 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][39] The album contains Sinfield's "phantasmagorical" lyrics, including "Happy Family" (an allegory of the break-up of the Beatles),[43] and the title track, a suite which took up the entire second side, describing a medieval/mythological battle and its outcome.[44]

Released in December 1970, Lizard reached No. 29 in the UK and No. 113 in the US. Described retrospectively as an "outlier",[43] 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.[41] 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.[41]

1971–1972: Islands 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 Bryan Ferry of Roxy Music and even one of the band's managers, John Gaydon.[41][45] 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.[46][47] Rick Kemp (later of Steeleye Span) rehearsed with the band, but declined the final offer to formally join.[39] 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.[48] With a line-up now complete, King Crimson began touring in May 1971, the first time they had played live since the original line-up's last show on 16 December 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.[41]

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][49][50] 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[51]), and would be the only time the band would utilize an orchestra.[39][52] Burrell disliked Sinfield's lyrics and one of the band members allegedly called Islands as "an airy-fairy piece of shit".[53][54]

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][49][55][56] In January 1972, the remaining band broke up acrimoniously in rehearsals, owing partially to Fripp's refusal to play a composition by Collins.[41] 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.[41] 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.[57][58] Further, better-quality, live recordings from this era would be released in 2002 as Ladies of the Road and in 2017 on the Sailors' Tales (1970–1972) box set. By this time, the musical rift between Fripp and the rest of the band had grown very wide. Wallace, Burrell and Collins favoured improvised blues and funk. Fripp would later describe the 1971–1972 lineup as 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.[53]

1972–1975: 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.[59]

The next incarnation of King Crimson was radically different from the previous configurations. 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,[60] bassist and vocalist John Wetton (who left Family), 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][61] Most of the musical compositions were collaborations between Fripp and Wetton, who each composed segments independently and fitted together those which they found compatible.[62] 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 was not an official member of King Crimson, playing 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.[63][64] Following a period of rehearsals, King Crimson resumed touring on 13 October 1972 at the Zoom Club in Frankfurt,[65] with the band's penchant for improvisation (and Muir's startling stage presence) gaining them renewed press attention.[61]

 
"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.[66] 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,[67] 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.[68][46][69][70] 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.[71][46][61]

 
King Crimson in 1974. From left: John Wetton, David Cross, Robert Fripp, and Bill Bruford

With Muir gone, the remaining members reconvened in January 1974 to produce Starless and Bible Black, released in March 1974, which earned them a positive Rolling Stone review.[72][73] 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.[74][75] 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][76]

 
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 English mystic J.G. Bennett and had a spiritual experience in which "the top of my head blew off".[77] 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 former members Ian McDonald and Mel Collins) contributed to the album.[78][79] Released on 6 October 1974,[80] 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,[81] with "intensely dynamic" musical chemistry between the band members.[82]

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.[83][78] Despite a band meeting while touring the US in which Fripp expressed a desire to end the band,[84] 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][85] It was later revealed that Fripp had attempted to replace himself with McDonald and Steve Hackett of Genesis, but this idea was rejected by the managers.[86][87] 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,[58] including "a must" for fans of the band and "insanity you're better off having".[88][89] Issues with the tapes rendered some of Cross' playing inaudible, so Eddie Jobson of Roxy Music 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.[90] More live recordings from the 1972–1974 era would be issued as The Night Watch in 1997, and as part of the box sets The Great Deceiver (1992), Larks' Tongues in Aspic (1972–1973) (2012), The Road to Red (1974), and Starless (1973–1974) (both 2014). Between 1975 and 1981, King Crimson were completely inactive.

1981–1984: 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.[91] Having recruited Bill Bruford as drummer, Fripp asked singer and guitarist Adrian Belew to join,[92] 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.[93] 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",[94] 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").[59] 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.[95][96][97] 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.[98][99][100][101] With a sound described in The New Rolling Stone Album Guide as having a "jaw-dropping technique" of "knottily rhythmic, harmonically demanding workouts".[82] The title track "Discipline" was described as a postminimalist rock song.[102] 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.[103] Fripp concentrated on playing complex picked arpeggios, while Belew provided an arsenal of guitar sounds that "often mimic animal noises".[104][105] 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".[106][107][108] 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.[109] Beat is the only album where Fripp had no involvement in the original mixing; Davies and Belew undertook production duties.[110][111] 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.[112][113][114] While Beat was more accessible,[115] it had the improvised "Requiem", which featured Frippertronics, a guitar technique invented by Brian Eno and Robert Fripp using a tape loop system.[116]

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.[117][110] 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 The Noise: Live in Frejus, a document of a show played at the Arena, Frejus, France on 27 August 1982, co-headlining with Roxy Music (whose set from the same show was also released on VHS as The High Road). The VHS was later re-released as part of the Neal and Jack and Me DVD in 2004.

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,[118] 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.[104][119][120][121] 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".[122][123] 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. A VHS document of the Three of a Perfect Pair tour, Three of a Perfect Pair: Live in Japan, was released later in 1984 (and later also included on the Neil and Jack and Me DVD). 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.[124] Further live recordings of the 1980s band would be released in 2016 as part of the On (and off) The Road (1981–1984) box set. Despite their conflict, the musicians remained professional on stage.[107]

"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.[59]

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.[125][126]

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.[127] 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.[128]

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.[129] 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[130]) and drummer Jerry Marotta,[131][68][132] with whom Fripp had played with Peter Gabriel.[133] After Sylvian/Fripp's closing concerts at the Royal Albert Hall in December 1993,[129][134] a tour that Marotta didn't participate in, Fripp decided to ask the tour's drummer Pat Mastelotto, formerly of Mr. Mister, to join instead of Marotta.[132] Bruford wound up being the last of the 1980s group to return to the band.[68] Fripp explained that he had a vision of a "Double Trio" with two drummers while driving along the Chalke Valley one afternoon in 1992.[106][127] 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.[59]

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.[135][failed verification] There was also a vague influence from the industrial music of that time.[136][137] Many of the songs were written or finalised by Belew, and displayed stronger elements of 1960s pop than before; in particular, a Beatles influence.[138] Bruford would refer to the band as sounding like "a dissonant Shadows on steroids".[59] As with previous line-ups, new technology was utilised, including MIDI (extensively used as an effects filter by Belew and Gunn, and which Fripp used to replace Frippertronics with an upgraded digital version of itself called "Soundscapes")[128][139][140] and the versatile Warr tap guitar with which Gunn replaced his Stick in 1995.[141] 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[142][18]

In October and December 1994, King Crimson recorded their eleventh studio album, THRAK.[135] 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,"[143] while being in tune with the sound of alternative rock of the mid-1990s.[144] 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.[138]

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.[145][146][18] A more conventional live recording from the period was later made available as the double CD release Vrooom Vrooom (2001), while a full 1995 concert was released on VHS in 1996 as Live in Japan and re-released on DVD in 1999 as Déjà Vrooom. The double trio would be further honored by the THRAK (1994–1997) box set in 2015.

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.[147][148] These have been collectively described by music critic J. D. Considine as "frequently astonishing" but lacking in melody.[82] 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.[148]

1999–2003: The Double Duo, The Construkction of Light and The Power to Believe edit

In October 1999, King Crimson reconvened.[149] 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.[148][150][151] Fripp was inspired by Tool's album Undertow during the writing process of The Construkction of Light.[152] 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.[148] 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.[153][2][154] The album contains the fourth installment of "Larks' Tongues in Aspic". It received a negative reception for lacking new ideas.[155] 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.[156]

King Crimson toured to support both albums, including double bill shows with Tool.[157] The tour was documented on the live album Heavy ConstruKction in 2000 and the Heaven & Earth (1997–2008) box set in 2019.[158] Led Zeppelin bassist John Paul Jones and his band supported Crimson on some live shows.[159]

On 9 November 2001, King Crimson released a limited edition live extended play called Level Five,[160] 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.[161] 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.[148][162]

In 2002, several former King Crimson members from the band's early years (Ian McDonald, Mel Collins, Peter Giles and Michael Giles, the latter later replaced by Ian Wallace) reunited as the 21st Century Schizoid Band to play music from King Crimson 1960s and 1970s catalogue which wasn't being performed by the current band. This band was fronted by Jakko Jakszyk (a singer-guitarist and multi-instrumentalist who'd played in 64 Spoons and Level 42 and contributed to British art rock projects since the late 1970s, and who would later play a more significant role in King Crimson history) and would continue performing until 2007[163][164][165]

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

The current King Crimson "Double Duo" line-up released their thirteenth album, The Power to Believe, in March 2003.[166] Fripp described it as "the culmination of three years of Crimsonising".[167] 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.[148][168] 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.[169][170] The band reconvened in early 2004 for rehearsals, but nothing developed from these sessions. They went on another hiatus.[150][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".[171][172][173]

On 21 September 2006, former King Crimson member Boz Burrell died of a heart attack,[174] followed by another former member, Ian Wallace, who died of esophageal cancer on 22 February 2007.[175]

2008: 40th Anniversary tour and third hiatus edit

 
Belew performing in 2006

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.[148][176] Additional shows were planned for 2009, but were cancelled due to scheduling clashes with Belew.[177][178]

King Crimson began another hiatus after the 40th Anniversary Tour.[179][180] 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."[181][182][183] In December 2010, Fripp wrote that the King Crimson "switch" had been set to "off" since October 2008, citing several reasons for this decision.[184]

In August 2012, Fripp announced his retirement from the music industry, leaving the future of King Crimson uncertain.[185]

2014–2021: The Seven-Headed Beast and Three Over Five line-ups edit

Prior to Fripp's retirement announcement, a band called Jakszyk, Fripp and Collins (and subtitled "A King Crimson ProjeKct") had released an album called A Scarcity of Miracles in 2011. The band featured guitarist and singer Jakko Jakszyk (who'd previously performed King Crimson material with 21st Century Schizoid Band), 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).[184] Unusually for a ProjeKct, it was based around "finely crafted" and "mid-paced" original songs derived from improvised sessions.[186][187]

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".[185] 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."[188][189] 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][190] 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.[191] This version of the group took on the nickname of "the Seven-Headed Beast".[86]

This drastically revamped King Crimson had no plans to record in the studio, focussing instead on playing "reconfigured" versions of past material in live concerts.[192] For the most part, this approach would remain consistent for the remainder of the band's lifetime. In early 2014, and 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 reviving song material from Red. No Adrian Belew-era songs were included in the setlist, although some instrumentals from the period were played (including items from THRAK and The Power to Believe). At the same time, two brand new songs mainly written by Fripp and Jakszyk ("Meltdown" and "Suitable Grounds for the Blues") were debuted at live concerts.

After rehearsing in England, King Crimson toured North America from 9 September to 6 October.[193][194][195] Recordings from the Los Angeles dates were released as Live at the Orpheum: this included new King Crimson instrumental music in the shape of "Banshee Legs Bell Hassle" and "Walk On: Monk Morph Chamber Music".

Tours across Europe, Canada, and Japan followed in the later half of 2015.[196] A live recording from the Canadian leg of the tour was released at the end of February 2016 as Live In Toronto, which included three more new Crimson instrumental pieces ("Threshold Soundscape", "Radical Action (To Unseat the Hold of Monkey Mind)" and "The Hell Hounds of Krim"). 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.[197]

A further live album, Radical Action to Unseat the Hold of Monkey Mind, was released in September 2016, drawing from 2015 concert dates of Japan, Canada and France preceding Rieflin's departure and Stacey's arrival. Further documenting the band's shuffling and evolving live set, it included one new instrumental ("Devil Dogs of Tessellation Row") and demonstrated that King Crimson were now incorporating material from A Scarcity of Miracles (the title track, plus "The Light of Day") into the band's repertoire.

On 7 December 2016, founding King Crimson member Greg Lake died of cancer.[198] Another former King Crimson member, John Wetton, died of colon cancer on 31 January 2017.[199]

On 3 January 2017, Bill Rieflin returned to King Crimson.[200] Since the band wished to retain Jeremy Stacey, Fripp called the new lineup the "Double Quartet Formation", referencing four drummers.[201] Consequently, King Crimson became an octet, with Fripp rechristening the line-up the "Three Over Five" (or "Five Over Three") Formation. Later on, Rieflin shifted his group role and became King Crimson's first full-time keyboard player.[202][203]

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.[204] The video to the song won "Video of the Year" at the 2017 Progressive Music Awards.[205] Shortly afterwards, King Crimson embarked on a United States tour beginning on 11 June and ending on 26 November.[206][207] 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][208]

On 14 October 2017, King Crimson released another contemporary live album, Live in Chicago, recorded on tour in June of the same year. As had been the case with its two predecessors, it included new music in the absence of a new studio album (in this case "Bellscape & Orchestral Werning", "The Errors" and "Interlude"). It also documented the return to the live set of material from the long-neglected 1970 album Lizard (in the form of the full "Lizard Suite" from the second side), as well as another live version of "'Heroes'" and a radically different version of the Belew-era song "Indiscipline".

On 13 October 2017, 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.[209] During 2018, King Crimson performed the extensive 33-date Uncertain Times tour through the UK and Europe between 13 June and 16 November.[210]

Although the band continued their "no new studio album" policy, April 2018 saw the full release of another live album, Live in Vienna, compiling concert recordings from Vienna in 2016 and from Tokyo in 2015. Although the only new band piece on this occasion was the brief drum trio "Fairy Dust of the Drumsons", the set also included three pieces drawn from improvised Fripp/Collins/Levin introduction music and merged with Fripp soundscape music: these pieces were arranged and realised by David Singleton, reflecting similar work he'd performed for THRaKaTTaK twenty years earlier.[211] On 20 October 2018, a further live album was released, Meltdown: Live in Mexico City, recorded during dates in July 2017: additions to the setlist on this album included another new drum piece ("CatalytiKc No. 9"), the readmission of another Belew-era song ("Neurotica), "Breathless" (from Fripp's 1979 solo album Exposure), a group jam and assorted solo member "cadenzas".

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 taken by Theo Travis, better known as a saxophonist, Soft Machine member and occasional duo collaborator with Robert Fripp.[86][87] 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.[212] 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.[213][214] 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.[215]

On 24 March 2020, Bill Rieflin died of cancer.[216] In the same year, former member Gordon Haskell died of lung cancer on 15 October.[217]

King Crimson toured North America and then Japan in 2021.[218] Recordings from dates on the American leg of the tour were released as the "official bootleg" live album Music Is Our Friend: Live in Washington and Albany, featuring music from across the band's lifetime plus two new Tony Levin cadenzas.[219][220]

2022: In the Court of the Crimson King documentary and end of band activity edit

Following the 2021 tour dates, King Crimson ceased activity, although without expressly announcing a breakup. Reasons cited were practical ones involving the old age of several of the members plus the rising cost of services during the pandemic, with no band intentions for any more tours.[221][222]

In August 2021, Jakszyk referred to the existence of "about forty to fifty minutes' worth of new (King Crimson) stuff, a number of songs I've co-written with Robert and some instrumental things he's written. During the lockdown Gavin suggested, 'Why don't we record these things so we've at least got studio recordings of this material?' That doesn't mean we're going to make a new album or it's ever gonna come out, but we have started this process."[223] Versions of two Fripp/Jakszyk songs originally intended for King Crimson ("Uncertain Times" and "Separation") had already emerged on Jakszyk's 2020 solo album Secrets and Lies, with participation from Fripp, Harrison, Levin and Collins.[224]

On 9 February 2022, founding King Crimson member Ian McDonald died of cancer.[32]

In March 2022, the documentary film In the Court of the Crimson King was premiered at the 2022 SXSW Film Festival. Directed by Toby Amies and filmed between 2019 and 2021, it covered live and backstage activity by the then-current band but also featured a historical overview plus contributions from Crimson alumni Ian McDonald, Michael Giles, Bill Bruford, Adrian Belew and Trey Gunn (as well as prolonged interview footage with the late Bill Rieflin). Amies described the film's development as follows: “What began as a traditional documentary about the legendary band King Crimson as it turned fifty, mutated into an exploration of time, death, family, and the transcendent power of music to change lives; but with jokes.” [225]

As of 2022, with the exception of archive/curatorial matters, King Crimson has ceased activity altogether, with no plans for the future.[226] 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?"[227]

At a post-screening Q&A session for In the Court of the Crimson King, Fripp referred to the seven-member 2021 lineup of King Crimson as "the final incarnation" of the band. Asked if there could ever be a line-up that did not include him, he replied "No! Why? Because I see the whole. I see the music. I see the musicians. I see the audience and I see the music industry... and you have to engage with all of that to have the overview. So that's the quick answer."[228]

Musical style edit

King Crimson have been described musically as progressive rock,[10] art rock,[229] and post-progressive,[230] with their earlier works being described as proto-prog.[231] 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,[232] and were known to play the Beatles' "Lucy in the Sky with Diamonds" in their rehearsals.[233] 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".[234][235] 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.[236] King Crimson also initially displayed strong jazz influences, most obviously on its signature track "21st Century Schizoid Man".[1][237] The band also drew on English folk music for compositions such as "Moonchild"[238] and "I Talk to the Wind."[237][238] In the 1972 lineup, Fripp's intention was to combine the music of Jimi Hendrix, Igor Stravinsky and Béla Bartók.[33][24]

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][95][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;[148] 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

Several King Crimson compositional approaches remained constant throughout the band's lifetime. These included:

  • 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 played 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") went deeper into polyrhythmic complexity, delving into rhythms that wander into and out of general synchronisation with each other, but with all 'finishing' 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 incorporated improvisation into their performances and studio recordings from the beginning, some of which was 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 consisted of musicians collectively making creative decisions and contributions as the music is being played. Individual soloing was largely eschewed; each musician was 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 was 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,[145] and the band's series of ProjeKcts.[147] Occasionally, particular improvised pieces were recalled and reworked in different forms at different shows, becoming more and more refined and eventually appearing on official studio releases.[69][148]

Influence and legacy edit

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: Bruford in Yes; 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.[24] Tool are known to be heavily influenced by King Crimson,[157][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]

Related legacy/cover bands featuring former King Crimson members edit

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[306]), 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.[307][308]

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.[309][310] This band includes (and reinterprets) King Crimson compositions in their live sets.[311] Reuter and Mastelotto also play together as a duo (previously called "Tuner"), within which they have been known to rework the mid-1980s King Crimson instrumental "Industry" live.[312]

Between 2011 and 2014, Stick Men and Adrian Belew's Power Trio band (Belew plus drummer Tobias Ralph and bass player Julie Slick[313]) joined forces to play and tour as The Crimson ProjeKCt, covering the music made during the '80s and '90s.[177][314] Following the return of King Crimson in 2014, the Crimson ProjeKct name has been formally abandoned, but the Stick Men and the Power Trio have still performed together from time to time, usually under names like "Belew, Levin, Mastelotto and friends".[315]

During his solo career, including performances with the Power Trio, Adrian Belew has performed various versions of King Crimson songs.[316][317][318]

Members edit

Main article: List of King Crimson members

Final lineup

  • Robert Fripp – guitar, keyboards, mellotron, electronics (1968–1974, 1981–1984, 1994–2008, 2013–2021)
  • Mel Collins – saxophones, flute, bass flute, clarinet, bass clarinet, mellotron, backing vocals (1970–1972, 2013–2021) (studio guest in 1974)
  • Tony Levin – bass, Chapman stick, synthesisers, backing vocals (1981–1984, 1994–1999, 2003–2008, 2013–2021)
  • Pat Mastelotto – drums, percussion, programming (1994–2008, 2013–2021)
  • Gavin Harrison – drums, percussion (2007–2008, 2013–2021)
  • Jakko Jakszyk – lead vocals, guitar, flute, keyboards (2013–2021)
  • Jeremy Stacey – drums, keyboards, backing vocals (2016–2021)

Former members

  • Peter Sinfield – lyrics, lighting, synthesizer (1968–1972)
  • Michael Giles – drums, percussion, backing vocals (1968–1970)
  • Greg Lake – bass, lead vocals (1968–1970) (died 2016)
  • Ian McDonald – saxophone, flute, clarinet, bass clarinet, keyboards, mellotron, vibraphone, backing vocals (1968–1970) (studio guest in 1974) (died 2022)
  • Peter Giles – bass (1970)
  • Gordon Haskell – bass, lead vocals (1970) (studio guest earlier in 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)
  • Bill Bruford – drums, percussion (1972–1974, 1981–1984, 1994–1999)
  • John Wetton – bass, lead vocals (1972–1974) (died 2017)
  • David Cross – violin, viola, keyboards (1972–1974)
  • Jamie Muir – percussion (1972–1973)
  • Adrian Belew – guitar, lead vocals, drums and percussion (1981–1984, 1994–2008)
  • Trey Gunn – Warr guitar, Chapman stick, backing vocals, bass (1994–2003)
  • Bill Rieflin – keyboards, synthesizer, mellotron, drums, percussion (2013–2016, 2017–2019) (died 2020)

Discography edit

Main article: King Crimson discography

Citations edit

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    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!)
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February 18, 2024
king, crimson, this, article, about, band, fictional, entity, golden, wind, manga, diavolo, confused, with, crimson, king, were, english, progressive, rock, band, formed, 1968, london, band, drew, inspiration, from, wide, variety, music, incorporating, element. This article is about the band For the fictional entity see Golden Wind manga Diavolo Not to be confused with Crimson King King Crimson were an English progressive rock band formed in 1968 in London The band drew inspiration from a wide variety of music incorporating elements of classical jazz folk heavy metal gamelan blues 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 earned a large cult following 2 3 King CrimsonKing Crimson at the Sapporo Culture Arts Theatre in Japan on 2 December 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 progressiveDiscographyKing Crimson discographyYears active1968 1974 1981 1984 1994 2008 2013 2021LabelsIsland Atlantic Vertigo Polydor EG Virgin Warner Bros Caroline Discipline Global MobileSpinoffs21st Century Schizoid Band Crimson Jazz Trio Emerson Lake amp Palmer Fripp amp Eno McDonald and Giles ProjeKcts Stick Men Tuner U K Spinoff ofGiles Giles and FrippPast membersRobert Fripp Peter Sinfield Michael Giles Greg Lake Ian McDonald Mel Collins Peter Giles Gordon Haskell Andy McCulloch Ian Wallace Boz Burrell Bill Bruford John Wetton David Cross Jamie Muir Adrian Belew Tony Levin Pat Mastelotto Trey Gunn Gavin Harrison Jakko Jakszyk Bill Rieflin Jeremy StaceyWebsitedgmlive wbr comFounded by Robert Fripp Michael Giles Greg Lake Ian McDonald and 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 the next two albums In the Wake of Poseidon and Lizard both 1970 were recorded during a period of instability in the band s line up A settled band of Fripp Sinfield Mel Collins Boz Burrell and Ian Wallace recorded Islands in 1971 though in mid 1972 Fripp let go of this line up and 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 King Crimson disbanded at the end of 1974 After seven years of inactivity King Crimson was reborn in 1981 with another change in musical direction The new band comprised Fripp Bruford and new members Adrian Belew and Tony Levin They drew influence from African music gamelan post punk and New York minimalism This band 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 they reformed in 1994 adding Pat Mastelotto and Trey Gunn for a sextet line up Fripp called The Double Trio The double trio 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 and 2000 Four members of the double trio 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 Contents 1 History 1 1 1967 1968 Giles Giles and Fripp 1 2 1968 1970 Original line up and In the Court of the Crimson King 1 3 1970 1971 In the Wake of Poseidon and Lizard 1 4 1971 1972 Islands 1 5 1972 1975 Larks Tongues in Aspic Starless and Bible Black Red and hiatus 1 6 1981 1984 Discipline Beat Three of a Perfect Pair and second hiatus 1 7 1994 1999 The Double Trio Vrooom THRAK and the ProjeKcts 1 8 1999 2003 The Double Duo The Construkction of Light and The Power to Believe 1 9 2008 40th Anniversary tour and third hiatus 1 10 2014 2021 The Seven Headed Beast and Three Over Five line ups 1 11 2022 In the Court of the Crimson King documentary and end of band activity 2 Musical style 2 1 Compositional approaches 2 2 Improvisation 3 Influence and legacy 4 Related legacy cover bands featuring former King Crimson members 5 Members 6 Discography 7 Citations 8 General references 9 External linksHistory edit1967 1968 Giles Giles and Fripp edit Main article Giles Giles and Fripp In August 1967 brothers Michael and Peter Giles drummer and singer bassist respectively and 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 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 1970 Original line up and In the Court of the Crimson King edit The first incarnation of King Crimson Robert Fripp Michael Giles Greg Lake Ian McDonald and Peter Sinfield was formed on 30 November 1968 with rehearsals beginning 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 nbsp 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 s first live performance was at the Speakeasy in London on 9 April 1969 with Yes guitarist Peter Banks among the audience 22 Their big breakthrough came on 5 July 1969 by playing as a support act at the Rolling Stones free concert in Hyde Park London before an estimated 500 000 people 23 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 24 The album contains Sinfield s gothic lyrics and its sound was described as having dark and doom laden visions 25 26 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 27 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 28 29 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 27 29 24 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 30 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 after the conclusion of the US tour in January 1970 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 31 McDonald later said he was probably not emotionally mature enough to handle it and made a rash decision to leave without consulting anyone 32 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 and in 2010 on the In the Court of the Crimson King 1969 box set 1970 1971 In the Wake of Poseidon and Lizard edit King Crimson spent 1970 in a state of flux with various line up changes thwarted tour plans and difficulties in finding a satisfactory musical direction while Fripp was learning and developing as a songwriter during the writing process of the next three albums 33 As well as guitar Fripp took on keyboard duties while Sinfield expanded his creative role to operating synthesizers Following McDonald and Giles departure Lake unsure of the band s future without them began discussions with Keith Emerson of the Nice about possibly forming a new band together With Fripp and Sinfield planning for recording the second King Crimson album and Lake s position uncertain the band s management booked Elton John to sing the material as a session musician but Fripp decided against this idea after listening to his Empty Sky album 34 Lake agreed to stay with the band until Emerson had completed remaining commitments with the Nice at which point he left to form Emerson Lake and Palmer On the resulting In the Wake of Poseidon album Lake provided all the lead vocals except on Cadence and Cascade as he left before he was able to complete this track Fripp s old school friend Gordon Haskell was brought in to provide the vocal on the song 35 36 The sessions also included Michael and Peter Giles on drums and bass respectively 35 37 saxophonist Mel Collins formerly of the band Circus 38 and jazz pianist Keith Tippett 39 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 40 With no set band to perform the new material Fripp and Sinfield kept Mel Collins on board with Gordon Haskell joining as lead vocalist and bassist and Andy McCulloch joining as drummer In addition to saxophone Collins would also act as occasional keyboard player and backing vocalist 41 39 Fripp and Sinfield wrote the third album Lizard themselves with Haskell Collins and McCulloch having no say in the direction of the material In addition to the core band several session musicians contributed to the Lizard recording including the returning Keith Tippett who was offered full band membership but preferred to remain an occasional guest musician 42 and two members of Tippett s band Mark Charig on cornet and Nick Evans on trombone Robin Miller on oboe and cor anglais also appeared while 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 39 The album contains Sinfield s phantasmagorical lyrics including Happy Family an allegory of the break up of the Beatles 43 and the title track a suite which took up the entire second side describing a medieval mythological battle and its outcome 44 Released in December 1970 Lizard reached No 29 in the UK and No 113 in the US Described retrospectively as an outlier 43 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 41 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 41 1971 1972 Islands 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 Bryan Ferry of Roxy Music and even one of the band s managers John Gaydon 41 45 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 46 47 Rick Kemp later of Steeleye Span rehearsed with the band but declined the final offer to formally join 39 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 48 With a line up now complete King Crimson began touring in May 1971 the first time they had played live since the original line up s last show on 16 December 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 41 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 49 50 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 51 and would be the only time the band would utilize an orchestra 39 52 Burrell disliked Sinfield s lyrics and one of the band members allegedly called Islands as an airy fairy piece of shit 53 54 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 49 55 56 In January 1972 the remaining band broke up acrimoniously in rehearsals owing partially to Fripp s refusal to play a composition by Collins 41 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 41 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 57 58 Further better quality live recordings from this era would be released in 2002 as Ladies of the Road and in 2017 on the Sailors Tales 1970 1972 box set By this time the musical rift between Fripp and the rest of the band had grown very wide Wallace Burrell and Collins favoured improvised blues and funk Fripp would later describe the 1971 1972 lineup as 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 53 1972 1975 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 59 The next incarnation of King Crimson was radically different from the previous configurations 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 60 bassist and vocalist John Wetton who left Family 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 61 Most of the musical compositions were collaborations between Fripp and Wetton who each composed segments independently and fitted together those which they found compatible 62 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 was not an official member of King Crimson playing 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 63 64 Following a period of rehearsals King Crimson resumed touring on 13 October 1972 at the Zoom Club in Frankfurt 65 with the band s penchant for improvisation and Muir s startling stage presence gaining them renewed press attention 61 nbsp 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 66 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 67 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 68 46 69 70 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 71 46 61 nbsp King Crimson in 1974 From left John Wetton David Cross Robert Fripp and Bill BrufordWith Muir gone the remaining members reconvened in January 1974 to produce Starless and Bible Black released in March 1974 which earned them a positive Rolling Stone review 72 73 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 74 75 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 76 nbsp Fripp performing in 1974In 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 English mystic J G Bennett and had a spiritual experience in which the top of my head blew off 77 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 former members Ian McDonald and Mel Collins contributed to the album 78 79 Released on 6 October 1974 80 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 81 with intensely dynamic musical chemistry between the band members 82 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 83 78 Despite a band meeting while touring the US in which Fripp expressed a desire to end the band 84 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 85 It was later revealed that Fripp had attempted to replace himself with McDonald and Steve Hackett of Genesis but this idea was rejected by the managers 86 87 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 58 including a must for fans of the band and insanity you re better off having 88 89 Issues with the tapes rendered some of Cross playing inaudible so Eddie Jobson of Roxy Music 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 90 More live recordings from the 1972 1974 era would be issued as The Night Watch in 1997 and as part of the box sets The Great Deceiver 1992 Larks Tongues in Aspic 1972 1973 2012 The Road to Red 1974 and Starless 1973 1974 both 2014 Between 1975 and 1981 King Crimson were completely inactive 1981 1984 Discipline Beat Three of a Perfect Pair and second hiatus edit nbsp 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 91 Having recruited Bill Bruford as drummer Fripp asked singer and guitarist Adrian Belew to join 92 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 93 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 94 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 59 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 95 96 97 By October 1981 the band had opted to change their name to King Crimson 10 nbsp 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 98 99 100 101 With a sound described in The New Rolling Stone Album Guide as having a jaw dropping technique of knottily rhythmic harmonically demanding workouts 82 The title track Discipline was described as a postminimalist rock song 102 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 103 Fripp concentrated on playing complex picked arpeggios while Belew provided an arsenal of guitar sounds that often mimic animal noises 104 105 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 106 107 108 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 109 Beat is the only album where Fripp had no involvement in the original mixing Davies and Belew undertook production duties 110 111 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 112 113 114 While Beat was more accessible 115 it had the improvised Requiem which featured Frippertronics a guitar technique invented by Brian Eno and Robert Fripp using a tape loop system 116 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 117 110 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 The Noise Live in Frejus a document of a show played at the Arena Frejus France on 27 August 1982 co headlining with Roxy Music whose set from the same show was also released on VHS as The High Road The VHS was later re released as part of the Neal and Jack and Me DVD in 2004 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 118 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 104 119 120 121 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 122 123 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 A VHS document of the Three of a Perfect Pair tour Three of a Perfect Pair Live in Japan was released later in 1984 and later also included on the Neil and Jack and Me DVD 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 124 Further live recordings of the 1980s band would be released in 2016 as part of the On and off The Road 1981 1984 box set Despite their conflict the musicians remained professional on stage 107 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 59 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 125 126 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 127 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 128 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 129 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 130 and drummer Jerry Marotta 131 68 132 with whom Fripp had played with Peter Gabriel 133 After Sylvian Fripp s closing concerts at the Royal Albert Hall in December 1993 129 134 a tour that Marotta didn t participate in Fripp decided to ask the tour s drummer Pat Mastelotto formerly of Mr Mister to join instead of Marotta 132 Bruford wound up being the last of the 1980s group to return to the band 68 Fripp explained that he had a vision of a Double Trio with two drummers while driving along the Chalke Valley one afternoon in 1992 106 127 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 59 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 135 failed verification There was also a vague influence from the industrial music of that time 136 137 Many of the songs were written or finalised by Belew and displayed stronger elements of 1960s pop than before in particular a Beatles influence 138 Bruford would refer to the band as sounding like a dissonant Shadows on steroids 59 As with previous line ups new technology was utilised including MIDI extensively used as an effects filter by Belew and Gunn and which Fripp used to replace Frippertronics with an upgraded digital version of itself called Soundscapes 128 139 140 and the versatile Warr tap guitar with which Gunn replaced his Stick in 1995 141 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 142 18 In October and December 1994 King Crimson recorded their eleventh studio album THRAK 135 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 143 while being in tune with the sound of alternative rock of the mid 1990s 144 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 138 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 145 146 18 A more conventional live recording from the period was later made available as the double CD release Vrooom Vrooom 2001 while a full 1995 concert was released on VHS in 1996 as Live in Japan and re released on DVD in 1999 as Deja Vrooom The double trio would be further honored by the THRAK 1994 1997 box set in 2015 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 147 148 These have been collectively described by music critic J D Considine as frequently astonishing but lacking in melody 82 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 148 1999 2003 The Double Duo The Construkction of Light and The Power to Believe edit In October 1999 King Crimson reconvened 149 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 148 150 151 Fripp was inspired by Tool s album Undertow during the writing process of The Construkction of Light 152 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 148 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 153 2 154 The album contains the fourth installment of Larks Tongues in Aspic It received a negative reception for lacking new ideas 155 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 156 King Crimson toured to support both albums including double bill shows with Tool 157 The tour was documented on the live album Heavy ConstruKction in 2000 and the Heaven amp Earth 1997 2008 box set in 2019 158 Led Zeppelin bassist John Paul Jones and his band supported Crimson on some live shows 159 On 9 November 2001 King Crimson released a limited edition live extended play called Level Five 160 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 161 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 148 162 In 2002 several former King Crimson members from the band s early years Ian McDonald Mel Collins Peter Giles and Michael Giles the latter later replaced by Ian Wallace reunited as the 21st Century Schizoid Band to play music from King Crimson 1960s and 1970s catalogue which wasn t being performed by the current band This band was fronted by Jakko Jakszyk a singer guitarist and multi instrumentalist who d played in 64 Spoons and Level 42 and contributed to British art rock projects since the late 1970s and who would later play a more significant role in King Crimson history and would continue performing until 2007 163 164 165 nbsp The band performing in 2003Left to right Trey Gunn Adrian Belew and Robert Fripp Pat Mastelotto is hidden The current King Crimson Double Duo line up released their thirteenth album The Power to Believe in March 2003 166 Fripp described it as the culmination of three years of Crimsonising 167 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 148 168 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 169 170 The band reconvened in early 2004 for rehearsals but nothing developed from these sessions They went on another hiatus 150 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 171 172 173 On 21 September 2006 former King Crimson member Boz Burrell died of a heart attack 174 followed by another former member Ian Wallace who died of esophageal cancer on 22 February 2007 175 2008 40th Anniversary tour and third hiatus edit nbsp Belew performing in 2006A 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 148 176 Additional shows were planned for 2009 but were cancelled due to scheduling clashes with Belew 177 178 King Crimson began another hiatus after the 40th Anniversary Tour 179 180 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 181 182 183 In December 2010 Fripp wrote that the King Crimson switch had been set to off since October 2008 citing several reasons for this decision 184 In August 2012 Fripp announced his retirement from the music industry leaving the future of King Crimson uncertain 185 2014 2021 The Seven Headed Beast and Three Over Five line ups edit Prior to Fripp s retirement announcement a band called Jakszyk Fripp and Collins and subtitled A King Crimson ProjeKct had released an album called A Scarcity of Miracles in 2011 The band featured guitarist and singer Jakko Jakszyk who d previously performed King Crimson material with 21st Century Schizoid Band 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 184 Unusually for a ProjeKct it was based around finely crafted and mid paced original songs derived from improvised sessions 186 187 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 185 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 188 189 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 10 190 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 191 This version of the group took on the nickname of the Seven Headed Beast 86 This drastically revamped King Crimson had no plans to record in the studio focussing instead on playing reconfigured versions of past material in live concerts 192 For the most part this approach would remain consistent for the remainder of the band s lifetime In early 2014 and 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 reviving song material from Red No Adrian Belew era songs were included in the setlist although some instrumentals from the period were played including items from THRAK and The Power to Believe At the same time two brand new songs mainly written by Fripp and Jakszyk Meltdown and Suitable Grounds for the Blues were debuted at live concerts After rehearsing in England King Crimson toured North America from 9 September to 6 October 193 194 195 Recordings from the Los Angeles dates were released as Live at the Orpheum this included new King Crimson instrumental music in the shape of Banshee Legs Bell Hassle and Walk On Monk Morph Chamber Music Tours across Europe Canada and Japan followed in the later half of 2015 196 A live recording from the Canadian leg of the tour was released at the end of February 2016 as Live In Toronto which included three more new Crimson instrumental pieces Threshold Soundscape Radical Action To Unseat the Hold of Monkey Mind and The Hell Hounds of Krim 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 197 A further live album Radical Action to Unseat the Hold of Monkey Mind was released in September 2016 drawing from 2015 concert dates of Japan Canada and France preceding Rieflin s departure and Stacey s arrival Further documenting the band s shuffling and evolving live set it included one new instrumental Devil Dogs of Tessellation Row and demonstrated that King Crimson were now incorporating material from A Scarcity of Miracles the title track plus The Light of Day into the band s repertoire On 7 December 2016 founding King Crimson member Greg Lake died of cancer 198 Another former King Crimson member John Wetton died of colon cancer on 31 January 2017 199 On 3 January 2017 Bill Rieflin returned to King Crimson 200 Since the band wished to retain Jeremy Stacey Fripp called the new lineup the Double Quartet Formation referencing four drummers 201 Consequently King Crimson became an octet with Fripp rechristening the line up the Three Over Five or Five Over Three Formation Later on Rieflin shifted his group role and became King Crimson s first full time keyboard player 202 203 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 204 The video to the song won Video of the Year at the 2017 Progressive Music Awards 205 Shortly afterwards King Crimson embarked on a United States tour beginning on 11 June and ending on 26 November 206 207 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 3 208 On 14 October 2017 King Crimson released another contemporary live album Live in Chicago recorded on tour in June of the same year As had been the case with its two predecessors it included new music in the absence of a new studio album in this case Bellscape amp Orchestral Werning The Errors and Interlude It also documented the return to the live set of material from the long neglected 1970 album Lizard in the form of the full Lizard Suite from the second side as well as another live version of Heroes and a radically different version of the Belew era song Indiscipline On 13 October 2017 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 209 During 2018 King Crimson performed the extensive 33 date Uncertain Times tour through the UK and Europe between 13 June and 16 November 210 Although the band continued their no new studio album policy April 2018 saw the full release of another live album Live in Vienna compiling concert recordings from Vienna in 2016 and from Tokyo in 2015 Although the only new band piece on this occasion was the brief drum trio Fairy Dust of the Drumsons the set also included three pieces drawn from improvised Fripp Collins Levin introduction music and merged with Fripp soundscape music these pieces were arranged and realised by David Singleton reflecting similar work he d performed for THRaKaTTaK twenty years earlier 211 On 20 October 2018 a further live album was released Meltdown Live in Mexico City recorded during dates in July 2017 additions to the setlist on this album included another new drum piece CatalytiKc No 9 the readmission of another Belew era song Neurotica Breathless from Fripp s 1979 solo album Exposure a group jam and assorted solo member cadenzas 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 taken by Theo Travis better known as a saxophonist Soft Machine member and occasional duo collaborator with Robert Fripp 86 87 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 212 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 213 214 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 215 On 24 March 2020 Bill Rieflin died of cancer 216 In the same year former member Gordon Haskell died of lung cancer on 15 October 217 King Crimson toured North America and then Japan in 2021 218 Recordings from dates on the American leg of the tour were released as the official bootleg live album Music Is Our Friend Live in Washington and Albany featuring music from across the band s lifetime plus two new Tony Levin cadenzas 219 220 2022 In the Court of the Crimson King documentary and end of band activity edit Following the 2021 tour dates King Crimson ceased activity although without expressly announcing a breakup Reasons cited were practical ones involving the old age of several of the members plus the rising cost of services during the pandemic with no band intentions for any more tours 221 222 In August 2021 Jakszyk referred to the existence of about forty to fifty minutes worth of new King Crimson stuff a number of songs I ve co written with Robert and some instrumental things he s written During the lockdown Gavin suggested Why don t we record these things so we ve at least got studio recordings of this material That doesn t mean we re going to make a new album or it s ever gonna come out but we have started this process 223 Versions of two Fripp Jakszyk songs originally intended for King Crimson Uncertain Times and Separation had already emerged on Jakszyk s 2020 solo album Secrets and Lies with participation from Fripp Harrison Levin and Collins 224 On 9 February 2022 founding King Crimson member Ian McDonald died of cancer 32 In March 2022 the documentary film In the Court of the Crimson King was premiered at the 2022 SXSW Film Festival Directed by Toby Amies and filmed between 2019 and 2021 it covered live and backstage activity by the then current band but also featured a historical overview plus contributions from Crimson alumni Ian McDonald Michael Giles Bill Bruford Adrian Belew and Trey Gunn as well as prolonged interview footage with the late Bill Rieflin Amies described the film s development as follows What began as a traditional documentary about the legendary band King Crimson as it turned fifty mutated into an exploration of time death family and the transcendent power of music to change lives but with jokes 225 As of 2022 with the exception of archive curatorial matters King Crimson has ceased activity altogether with no plans for the future 226 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 227 At a post screening Q amp A session for In the Court of the Crimson King Fripp referred to the seven member 2021 lineup of King Crimson as the final incarnation of the band Asked if there could ever be a line up that did not include him he replied No Why Because I see the whole I see the music I see the musicians I see the audience and I see the music industry and you have to engage with all of that to have the overview So that s the quick answer 228 Musical style editKing Crimson have been described musically as progressive rock 10 art rock 229 and post progressive 230 with their earlier works being described as proto prog 231 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 232 and were known to play the Beatles Lucy in the Sky with Diamonds in their rehearsals 233 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 234 235 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 236 King Crimson also initially displayed strong jazz influences most obviously on its signature track 21st Century Schizoid Man 1 237 The band also drew on English folk music for compositions such as Moonchild 238 and I Talk to the Wind 237 238 In the 1972 lineup Fripp s intention was to combine the music of Jimi Hendrix Igor Stravinsky and Bela Bartok 33 24 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 95 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 148 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 in this section Unsourced material may be challenged and removed March 2021 Learn how and when to remove this template message Several King Crimson compositional approaches remained constant throughout the band s lifetime These included 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 played 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 went deeper into polyrhythmic complexity delving into rhythms that wander into and out of general synchronisation with each other but with all finishing 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 incorporated improvisation into their performances and studio recordings from the beginning some of which was 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 consisted of musicians collectively making creative decisions and contributions as the music is being played Individual soloing was largely eschewed each musician was 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 was 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 145 and the band s series of ProjeKcts 147 Occasionally particular improvised pieces were recalled and reworked in different forms at different shows becoming more and more refined and eventually appearing on official studio releases 69 148 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 Bruford in Yes 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 24 Tool are known to be heavily influenced by King Crimson 157 251 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 Related legacy cover bands featuring former King Crimson members 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 306 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 307 308 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 309 310 This band includes and reinterprets King Crimson compositions in their live sets 311 Reuter and Mastelotto also play together as a duo previously called Tuner within which they have been known to rework the mid 1980s King Crimson instrumental Industry live 312 Between 2011 and 2014 Stick Men and Adrian Belew s Power Trio band Belew plus drummer Tobias Ralph and bass player Julie Slick 313 joined forces to play and tour as The Crimson ProjeKCt covering the music made during the 80s and 90s 177 314 Following the return of King Crimson in 2014 the Crimson ProjeKct name has been formally abandoned but the Stick Men and the Power Trio have still performed together from time to time usually under names like Belew Levin Mastelotto and friends 315 During his solo career including performances with the Power Trio Adrian Belew has performed various versions of King Crimson songs 316 317 318 Members editMain article List of King Crimson members Final lineup Robert Fripp guitar keyboards mellotron electronics 1968 1974 1981 1984 1994 2008 2013 2021 Mel Collins saxophones flute bass flute clarinet bass clarinet mellotron backing vocals 1970 1972 2013 2021 studio guest in 1974 Tony Levin bass Chapman stick synthesisers backing vocals 1981 1984 1994 1999 2003 2008 2013 2021 Pat Mastelotto drums percussion programming 1994 2008 2013 2021 Gavin Harrison drums percussion 2007 2008 2013 2021 Jakko Jakszyk lead vocals guitar flute keyboards 2013 2021 Jeremy Stacey drums keyboards backing vocals 2016 2021 Former members Peter Sinfield lyrics lighting synthesizer 1968 1972 Michael Giles drums percussion backing vocals 1968 1970 Greg Lake bass lead vocals 1968 1970 died 2016 Ian McDonald saxophone flute clarinet bass clarinet keyboards mellotron vibraphone backing vocals 1968 1970 studio guest in 1974 died 2022 Peter Giles bass 1970 Gordon Haskell bass lead vocals 1970 studio guest earlier in 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 Bill Bruford drums percussion 1972 1974 1981 1984 1994 1999 John Wetton bass lead vocals 1972 1974 died 2017 David Cross violin viola keyboards 1972 1974 Jamie Muir percussion 1972 1973 Adrian Belew guitar lead vocals drums and percussion 1981 1984 1994 2008 Trey Gunn Warr guitar Chapman stick backing vocals bass 1994 2003 Bill Rieflin keyboards synthesizer mellotron drums percussion 2013 2016 2017 2019 died 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 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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 Archived from the original on 24 February 2021 Retrieved 24 February 2021 Smith Sid 13 January 2006 Happy Birthday KC dgmlive com Archived from the original on 24 February 2021 Retrieved 24 February 2021 Kelman John 4 October 2010 King Crimson In The Wake Of Poseidon 40th Anniversary Series All About Jazz Archived from the original on 10 February 2021 Retrieved 24 February 2021 Sanneh Kelefa 12 June 2017 The Persistence Of Prog Rock The New Yorker Archived from the original on 12 June 2017 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 Tamm 1990 p 20 Rhythm at the heart of the expanded King Crimson fee required The Boston Globe nl newsbank com 3 June 1995 Archived from the original on 9 June 2011 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 Archived from the original on 9 June 2011 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 Archived from the original on 9 June 2011 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 Archived from the original on 10 November 2022 Retrieved 10 November 2022 Henderson Paul 7 February 2007 King Crimson Court In Session loudersound com Archived from the original on 26 November 2021 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 Archived from the original on 21 February 2017 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 Archived from the original on 4 March 2017 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 Archived from the original on 22 March 2016 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 Archived from the original on 25 February 2017 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 Archived from the original on 23 July 2019 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 Archived from the original on 27 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 Archived from the original on 1 August 2017 Retrieved 25 February 2017 Ham Robert 31 January 2017 Wire s Colin Newman on the Music That Made Him Pitchfork Archived from the original on 27 February 2017 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 Archived from the original on 24 February 2017 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 Archived from the original on 24 February 2017 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 Archived from the original on 30 May 2017 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 Archived from the original on 4 October 2023 Retrieved 25 January 2021 Rivadavia Eduardo 6 June 2018 The Roots of Progressive Metal in 11 Songs loudwire com Archived from the original on 9 November 2020 Retrieved 7 February 2021 October 2016 Christina O Neill06 6 October 2016 Opeth discuss their prog influences Prog Magazine Archived from the original on 30 June 2020 Retrieved 30 June 2020 a href Template Cite web html title Template Cite web cite web a CS1 maint numeric names authors list link 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 Archived from the original on 1 August 2017 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 Archived from the original on 22 February 2017 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 Archived from the original on 11 October 2016 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 Archived from the original on 8 March 2017 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 Archived from the original on 12 April 2016 Retrieved 27 February 2017 Cavaliere Gabe 29 May 2012 Interview with Michael Lessard of Last Chance to Reason Dermetalkrieger com Archived from the original on 25 February 2017 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 Archived from the original on 1 May 2017 Retrieved 24 March 2017 Sheaffer Caleb 9 April 2003 Mudvayne brings tongue in cheek sensibility to BJC show The Daily Collegian Archived from the original on 27 October 2014 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 Archived from the original on 1 August 2017 Retrieved 8 March 2017 O Hagar Sammy 4 November 2008 ENSLAVED S GRUTTLE KJELLSON THE METALSUCKS INTERVIEW MetalSucks Archived from the original on 1 August 2017 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 Archived from the original on 23 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 Archived from the original on 15 April 2017 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 Archived from the original on 8 March 2017 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 Archived from the original on 24 February 2017 Retrieved 23 February 2017 Samudrala Ram 17 October 2000 Q amp A with Scott Kelly of Neurosis www ram org Archived from the original on 15 October 2018 Retrieved 26 February 2017 Frank Oliver Kollar Balint May 2015 Zeni Geva interview 2015 05 japanvibe net published 1 July 2016 Archived from the original on 5 March 2017 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 Archived from the original on 28 February 2017 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 Archived from the original on 9 March 2016 Retrieved 8 March 2017 Rosal Garaizabal Borja 28 October 2008 JUANA MOLINA Elixir de la eterna juventud www mondosonoro com in Spanish Archived from the original on 9 March 2017 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, wikipedia, wiki, book, books, library,

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