King Crimson
Three Of A Perfect Pair
[EG]
The last of three records by the '80s formation is, as the title suggests, a sort of odd man out - a strange, unloved sort of record. I think it's great and one of the band's most underrated.
For me, 1982's 'Beat' was a bit too clean and forsook too much of KC's trademark adventurousness. 'Three' not only covers more musical ground, but does the "intelligent pop" thing more effectively as well.
The title track is both memorable and deceptively complex. The music matches well with the strangely disturbing lyrics. Taxingly assembled, woven guitars groove along in waltz time with classy Bill Bruford drumming. The song's chorus is one of the best the band has written. Adrian Belew always seems able to wrench new sounds from his guitar, and his solo here is no different.
A rapidly vibrating bass line from Tony Levin and dark chord choices create a unique atmosphere in "Sleepless", a haunting dreamscape with lyrics to match.
"Man With an Open Heart" is the obvious hit of the record, with a great chorus that makes better use of Levin's background vocals than in the past. This is elegant, thoughtful, and proud pop music. It *is* possible...
"Nuages" is an amazing, meditative instrumental comparable to "The Sheltering Sky" from 'Discipline'. Subconsciously effective bass, drums, and synth mix with Robert Fripp's inimitable clean, introspective guitar soloing to create excellent ambient music.
The instrumental ambience continues into the beginning of "Industry", which has a sturdier beat to it, especially when the more aggressive, mechanical nature of the piece is revealed a couple of minutes in with some forcefully precise Bruford drum rolls. Buzzing guitars, a strong percussive bass presence, and factory sounds like steam being released build the intensity. The synth emerges to calm things down in the later stages, but it's an ominous calm...
The record only gets more wild from here, with "Dig Me", a strange little number about a car in a scrapyard. The verses consist of twangy, tuneless riffing that sounds like a loose spring, while the chorus by contrast is longingly melodic.
As if to appease Fripp and his diminishing role in songwriting, "Larks' Tongues in Aspic Part III" allows him to cut loose with mind- and finger-bending guitar work and a labyrinthine run-through of "Larks" riffs mixed with the rhythmically sturdier, more harmonically colorful music of this era. Bruford's more predictable electronic drumming and the relative simplicity of the second half of the piece make it less memorable than the first two installments.
This album is one for the serious Crimson fans.
© 2001 j.s.
For me, 1982's 'Beat' was a bit too clean and forsook too much of KC's trademark adventurousness. 'Three' not only covers more musical ground, but does the "intelligent pop" thing more effectively as well.
The title track is both memorable and deceptively complex. The music matches well with the strangely disturbing lyrics. Taxingly assembled, woven guitars groove along in waltz time with classy Bill Bruford drumming. The song's chorus is one of the best the band has written. Adrian Belew always seems able to wrench new sounds from his guitar, and his solo here is no different.
A rapidly vibrating bass line from Tony Levin and dark chord choices create a unique atmosphere in "Sleepless", a haunting dreamscape with lyrics to match.
"Man With an Open Heart" is the obvious hit of the record, with a great chorus that makes better use of Levin's background vocals than in the past. This is elegant, thoughtful, and proud pop music. It *is* possible...
"Nuages" is an amazing, meditative instrumental comparable to "The Sheltering Sky" from 'Discipline'. Subconsciously effective bass, drums, and synth mix with Robert Fripp's inimitable clean, introspective guitar soloing to create excellent ambient music.
The instrumental ambience continues into the beginning of "Industry", which has a sturdier beat to it, especially when the more aggressive, mechanical nature of the piece is revealed a couple of minutes in with some forcefully precise Bruford drum rolls. Buzzing guitars, a strong percussive bass presence, and factory sounds like steam being released build the intensity. The synth emerges to calm things down in the later stages, but it's an ominous calm...
The record only gets more wild from here, with "Dig Me", a strange little number about a car in a scrapyard. The verses consist of twangy, tuneless riffing that sounds like a loose spring, while the chorus by contrast is longingly melodic.
As if to appease Fripp and his diminishing role in songwriting, "Larks' Tongues in Aspic Part III" allows him to cut loose with mind- and finger-bending guitar work and a labyrinthine run-through of "Larks" riffs mixed with the rhythmically sturdier, more harmonically colorful music of this era. Bruford's more predictable electronic drumming and the relative simplicity of the second half of the piece make it less memorable than the first two installments.
This album is one for the serious Crimson fans.
© 2001 j.s.