STARLESS AND BIBLE BLACK

1974 saw the Crimson King bring two fabulous records to the light of day - the first one of them often gets forgotten, maybe neglected, somewhat underappreciated, for reasons more than obvious. But this is just not right; 'Starless and Bible Black' is studio album #6 for the band, released in March, and the first one to have most of the material recorded live, and just a couple songs recorded entirely in the studio. Is it really shocking at this point in the band's career when the new studio album sounds nothing like any of the previous releases? There are no more symphonic inclinations, like in the first two albums, no more avant-garde jazz quests or romantic explorations, like on the third and fourth albums, and certainly no more 'classical crossover' (If we may describe it in this way), like on the fifth one - this is different; the sound is abrasive, unusual and unwelcoming. The presence of several live recordings means that most of the material on 'Starless and Bible Black' is highly experimental, borderline meaningless, and strongly improvisational. Blended with some studio recordings and edited out in the studio before release, this 1974 album has to be one of the more challenging but nonetheless essential examples of progressive rock.

Alongside Fripp, the listener will notice Bill Bruford on drums and percussion (taking this role after the spontaneous departure of Jamie Muir, a personal favorite and a man who brings a pretty unique flavor to the Crim's fifth album), John Wetton on bass and vocals, and David Cross on violin, viola, Mellotron - King Crimson's personal Paganini. It is the very presence of Cross that adds so much value and intrigue to this mysterious recording, his soloing, the manic violin parts, sometimes melancholic and sometimes hectic, the phrasing all add up to his account.

The album starts off with the two tracks that were entirely prepared in the studio, two fantastic and more straightforward rocking songs from King Crimson, 'The Great Deceiver' and 'Lament'; however, this does not mean that they are anything close to the standard and ordinary hard rock songs from the same time. Then comes the instrumental 'We'll Let You Know', about which all I could say is: why isn't this groovy bonanza a 15-minute composition, it feels like it could have been a true masterpiece of experimental rock. 'The Night Watch' is an observation upon Rembrandt's painting of the same name, 'Trio' is a dramatic instrumental piece, featuring the talents of Fripp on the Mellotron, Cross on the violin, and Wetton on the bass; It is not exactly clear what the purpose of this composition is, or why it was featured on the album. Finally, side one concludes with the menacing live recording 'The Mincer', a shortened version of the presumably very long improv.

Side two contains just two epic instrumentals, the murky title track, and the strangely uplifting and exciting 'Fracture'; They flow into each other almost seamlessly, forming this tremendously pleasant experience of enjoying some of the best experimental rock music from any band ever. Must-hear compositions for the fans of the Crim that might have missed these excellent instrumentals for whatever reason.

'Starless and Bible Black' is far from being a perfect album because it is simply a horrendous one! It is an album that invites you to listen, contemplate, not move, and decide; It is a proposal by King Crimson, an unwelcoming call to contemplate the sounds of the light and the shade.