LARKS' TONGUES IN ASPIC

A dive in Great Crimso's most experimental side. Emerging from a doubtful past (a continuosly changing line up, an uncertain album like Islands...) King Crimson rises again with new, awesome musicians: John Wetton's (previously in Family) mellow and pleasant vocals- along with a good bass guitar playing style, David Cross' twisting violin, Bill Bruford's precise and crazy drumming and the misteriuos percussive presence of James Muir. And, not to be forgotten, this is definately a guitar-oriented album, with Fripp's peculiar soloism flowing through all the songs like it rarely had done previously. It can be seen in the two parts of Lark's tongue in Aspic, a free jazz edged, confounding jam where his guitar battles with all the other instruments, especially Cross' violin. It's quite a difficult piece to get into, one of the most extreme numbers by King Crimson. But even a song like Exiles- appaerently nearer to a more traditional scheme- stands in its beauty: it begins with weird sounds followed by a blissful passage with Fripp's acoustic arpeggios and Cross' mellow and classical melodies, and Wetton recalling warm memories from the past. Easy money is a jazzy superbe number: Fripp bites hard with crunchy and bitter riffs and clean, bizarre solos, and the band overall creates a wild and urban atmosphere. The Talking drum is, as the title track, a strange and good jam with great contribuitions by every member. And don't forget the pleasant and short interlude after LTIA part 1, Book of Saturndays, it's easy to miss among all these long and complex songs. A great album, maybe not as the following Starless and Bible Black and Red, but a good warm up and creative effort to get prepared to them. Don't miss it.