RED

For my first KC review around here, I chose this record because it happens to be one of my all times favorite albums. I discovered "Red" a long ago within my inner progressive pursuit, I would say I first put hands on it maybe ten or twelve years ago and I must say it blew my mind right away. Although it wasn't my very first encounter with the band commanded by eternal Robert FRIPP, it seemed quite different to me from the previously heard. Off the get-go, one of the most revealing things on the record that caught my eye, was the featuring line-up. And indeed I wasn't impressed in vain.

Title song is as harsh as soft on the ears. It breaks out of this strident guitar that announces the scent of a solid rock song. But as the passage flows, the ambiance turns kind of mysterious and creepy thanks to the low spoken voice of this eloquent cello which captures the scene in a morbid, acid way. The song retakes from where it was left behind and carries on through pure rhythmic music just to the point where it crashes irremediably marvelous onto this unexpected ending. Great parte prima.

Next song on the road to earthly holiness would be "Fallen Angel". I could even say I fell in love with it out of the first spin on my old, dusty turntable. The canvas depicted in here blends perfectly along the leading sounds coming out of the sax and the upbeat drums played modestly by Master Bill BRUFORD. I think of this wonderful piece of music as one of those smooth danceable ballads rarely found within the depths of Prog Rock. The track distills heavenly rich, relaxing all your senses into unconsciousness and further on. It really gives me the spiritual creeps.

If it wasn't enough, the album increases its perfection as it moves on to following episode. "One More Red Nightmare" is in my humble opinion, the suitable pretext to Mr. BRUFORD to show what he's got under his sleeve. The execution of that drum kit appears to be somehow hidden behind an unspoken genius. I picture this track as this kind of enticing, seductive scene were the instruments meet face to face with the leading drums and cymbals, unable to do nothing but to surrender to the spell of the mystic rhythm.

"Providence". It is indeed providential. An almost mute violin held in hand by David CROSS starts to clear the air into this anguishing mood that slowly invites the rest of the instruments to this melodic soirée. The unease display of virtuosity gathers in expectation just to leave the listener floating around his self-created thoughts, wondering if there will ever be a finishing line drawn between unrevealed feelings and apparent reality.

The best come right at the ending for those who can wait. The perfect epilog to a marvelously crafted masterpiece. "Starless", briefly detailed, is entirely from beginning to end, a post-modernist waltz exquisitely arranged and executed. The lyrics intertwine smoothly with the instrumentation in this sort of musical conspiracy that's given to birth once in a lifetime. The ravishing melodic composure is unrepeatable and perpetual. It manages to shake you off any unpleasant feeling juts to find yourself wandering around your very insides up to the tip of your fingers reaching for a dreamlike state of mind. Many times, I've found myself spending entire evenings spinning this track back and forth just to untangle my head off the rest of the thoughts swirling inside me to stretch my mind and to quench my thirst of complete relaxation. A real Progressive Rock cornerstone that would never stop twanging off through your ears, straight to your skin.

Any respectable collection should proudly display this album. Top class compliments to KING CRIMSON and top ratings for "Red" that has shown for over thirty years, nothing but constant amazement. No less.