The second album for the early '80s lineup is a slight step down from 'Discipline'. The songs are even more condensed and thematic, moving further into the '80s and away from the terrifying experimentation of the '70s.

"Neal and Jack and Me" is perhaps the prototypical song for this formation of the band. The interlocking guitars and Tony Levin's bass work mesh into a perfect stream of thought.

"Heartbeat" was probably the band's best chance at a hit single. Great vocal lines in this one. "Sartori in Tangier" is an interesting study in harmony, with more well-considered string interplay over a bed of drums. "Waiting Man" is another emotionally melodic, vocals-based song with the stamp of Adrian Belew on it.

The intensity is raised with "Neurotica", a perfectly executed sonic portrait of a bustling city street in the summer. Frantic rhythms from all instruments, including vocals, give the song kinetic energy. Belew's guitar emulates various city noises with uncanny accuracy. The reins on the rhythm section are loosened as well. Listen to Bill Bruford's drumming on this song - still think Hellhammer is so hot?

"Two Hands" is the sweetest song yet. This is about the only time in the band's history that I feel they went too far. I just can't appreciate this. Still, the next two songs prove that the band weren't simply trying to make the most easily-consumable record possible. "The Howler" is a strange, dark, tuneless sort of song with frightening overtones, and "Requiem" is an extensive, totally whacked Robert Fripp guitar solo excursion.

Overall, this remains the cleanest, most accessible album in King Crimson history. The contrasts between Belew's pop tendencies and Fripp's crazed destructiveness are increasingly evident, and while the band's tremendous skills shine through, the record is too uncomfortable and uncharacteristic to be considered one of their best.

© 2001 j.s.