LARKS' TONGUES IN ASPIC

Larks' Tounges In Aspic is the album that truly changed King Crimson. After their quartet of earlier albums, Crimson completely changed their sound from ambient symphonic prog to total eclectic prog metal, mixed in with European classical influences by adding bass guitarist and vocalist John Wetton, violinist and keyboardist David Cross, percussionist Jamie Muir, and drummer Bill Bruford. It is an awesome album and took them into my personal favorite phase of their extensive catalog.

The album opens with "Larks' Tounges in Aspic (Part 1)", the first of a 2-part masterpiece that bookends the album. Beginning with assorted xylophone and noises from Jamie Muir and David Cross, the song is introduced to the main violin build-up which leads into some amazing distorted guitar from Robert Fripp. The song masterfully shifts from some of the most crunchy guitar riffs to some very classical and quiet sections which are the place where Crosses' violin really shines. After an extended violin section from Cross, the main violin build-up is reintroduced with voices in the background which closes out the track.

The second song, "Book Of Saturday" is a nice softer song. There is really beautiful atmospheric guitar work from Fripp, coupled with great vocals from Wetton. The lyrics fit the song well and it is a massive contrast from the prior track. The next song, "Exiles" opens up with some "old crimson" style ambiance. The song has some very rare Fripp acoustic work, along with some utterly beautiful violin and vocal work from Cross and Wetton. Wetton, as per usual, sings the crap out of the song and, his wonderful vocals are a reoccurring theme on the album. At around the 4:30 minute mark, the song shifts into a different progression which features some stunning piano work from Wetton, who plays piano on only this track. To end the track, Fripp plays possibly the softest yet most heartbreaking guitar solo of his career. Definietly an underated highlight off of the album.

The album then takes a turn from more acoustic songs to the powerful yet satirical "Easy Money." The song contains some minor mellotron, harsh lyrics and choir work from Wetton, and absolutely screeching guitars. Bruford's rhythmic work is also very impressive as he seamlessly plays some very complex polyrhythms during the track. The song is one of my favorites off the album. "The Talking Drum" is my least favorite song from the album. It is an extended jam that follows the same mantra of bass and drums for 7 minutes straight, while Fripp and Cross solo over it. The saving grace of the song is when it picks up at the end and Cross' solo really hits some crazy notes, ending the song with screeching violin.

"Larks' Tounges In Aspic (Part 2)" closes the album, as mentioned previously, and is a much more melodic contrast to its' first part. It uses some of the same licks from part 1 but, they are in a different key. It is also about 6 minutes shorter. The entire suite "Larks' Tounges In Aspic" actually stretches onto their future album with Part 3 on "Three of a Perfect Pair" Part 4 on "The ConstruKtion of Light" and "Level 5" on "The Power to Believe." If I had to chose between Parts 1 and 2, I would say Part 2 by a hair is my favorite. The "Larks' Tounges in Aspic" suite combined is my favorite song off of the album.

Overall this is an awesome album that I think really shined a new light on King Crimson. The musicianship is absolutely world class, and it has may different moods. I can't really compare it to much else because it is very distinct. Highly recomended to all prog fans!