LARKS' TONGUES IN ASPIC

This album changed my view of listening to music forever. After hearing Crimson's debut I was already blown away but this one was a completely different story musically, with an entirely new line-up and a whole new musical path ahead. This was a new source of inspiration not only for King Crimson but also for other bands listening to this record after it's release. Crimson's new sound was really experimental, which is even further expanded with the new drums/percussion section of Bill Bruford and Jamie Muir respectively. Bruford's clean and polyrhythmic style is an excellent contrast to Muir's manic and asymmetrical approach, having equipment enough to fill your living room completely. While John Wetton might not be the bands best vocalist, his heavy bass lines and snarly tone round up this rhythm section perfectly, while Violinist and Mellotron player David Cross contrasts both them and Fripp with beautiful suspenseful textures. The overall result is much sharper than before, with a more refined sense of dynamics and Fripp's crunchiest riffs so far in their catalogue, though tracks like 'Book of Saturday' and 'Exiles' maintains the bands use of calmer, more melodic ballads.

The stand out tracks here are definitely the title trAspic, effectively sliced in two to both open and close this album. This piece toys with multiple genres including proto-metal, contemporary classical, jazz and makes you think that Jamie Muir hit the nail right on the head when he came up with the title. One of the weirder tracks around for sure, chaotic and strange yet calculated, and the last part sums the album up on an even grander and aggressive note. Definitely one of Crimson's stranger tales, but if you like this band then check this album out! ★★★★★