The third major KC epoch began in 1981 with 'Discipline'. Guitarist Robert Fripp is joined once again by Bill Bruford on drums, as well as two American newcomers: respected bass veteran Tony Levin and the quirky yet brilliant Adrian Belew on vocals and guitar. The four formed arguably the most stable, complementary lineup yet. Belew is almost certainly the best singer the band has ever had - true, versatile, and charismatic. His guitar playing is the perfect counter to Fripp's Zen-like technical focus. Belew is a highly creative, expressive, playful guitar wizard in his own right.

These adjectives describe his personality as a frontman and lyric writer, as well. He helps define the new KC style: less overtly experimental and heavy, and more gleaming, precise, inviting, and '80s-sounding.

"Elephant Talk" is a great introduction. Belew satirizes the various ways in which humans communicate verbally. His vocal performance is charmingly clever and conversational. Guitars, which on this album are clear, ringing, and almost piano-like as opposed to the thundering metallic power of the Great Deceiver era, dance around in a nimble but painstakingly precise fashion, helping each other to create an overall melodic flow. Belew offers fitting lead guitar commentary to mark the song further as his own.

"Frame by Frame" stands out as a true classic. By now, Fripp's obsessive approach to guitar playing and practice has set him apart from just about everyone else in terms of sheer technique. The speed and precision of the main guitar line in this song should be heard by any devotee of the instrument. It makes me giddy just thinking about it. The verse is an example of the main musical advance of this era of the band: interlocking polyrhythms for the guitars. Rather than seeming like unnecessary bravado, these sections add emotional as well as mental interest to the music. The album is centered on this theme of the intertwining threads of life, symbolized perfectly by the cover art. The two guitars don't seem to be playing against each other so much as following their own paths and coming together at certain common points, much like a good friendship.

"Matte Kudasai" is a sleepy, poignant ballad that evokes waking up in the early morning on the beach - an image enhanced by Belew's clever use of his guitar to emulate seagulls.

"Indiscipline" is the one song that harkens back to the '70s, with a heavy and distorted riff, untamed drumming and a generally chaotic feel.

Each King Crimson record holds surprises. One of the most memorable is the song "Thela Hun Ginjeet", which is centered on a remarkably novel idea that gives the song a highly personal, human touch. I won't spoil it.

"The Sheltering Sky" is the dark horse song of the album. It's an emotional instrumental somewhat along the lines of "The Talking Drum" from 'Lark's Tongues in Aspic'. The song is highly evocative, for me, of strange, grey skies in alien worlds.

The pièce de résistance of the album is the title track, a five-minute tapestry of richly melodic, incredibly technical interlocking guitar lines between Fripp and Belew. Levin and Bruford somehow find the grooves in the music. This song could be puzzled over for ages to figure out all of the time signatures employed, or just as easily enjoyed for the classy, artful rock it is.

The band successfully reinvented itself again with this album, delivering a clearer and more inviting, but no less creative or intelligent blend that lasted for three great albums.

© 2001 j.s.