Review:
“Initially, King Crimson consisted of Robert Fripp (guitar), Ian McDonald (reeds/ woodwind/ vibes/ keyboards/ Mellotron/ vocals), Greg Lake (bass/ vocals), Michael Giles (drums/ percussion/ vocals), and Peter Sinfield (words/ illuminations). As if somehow prophetic, King Crimson projected a darker and edgier brand of post-psychedelic rock. Likewise, they were inherently intelligent – a sort of thinking man’s Pink Floyd. Fripp demonstrates his innate aptitude for contrasts and the value of silence within a performance, even as far back as 21st Century Schizoid Man. The song is nothing short of the aural antecedent to what would become the entire heavy alternative/grunge sound. Juxtaposed with that electric intensity is the ethereal noir ballad I Talk to the Wind. The delicate vocal harmonies and McDonald’s achingly poignant flute solo and melodic counterpoint remain unmatched on an emotive level. The surreal and opaque lyrics are likewise an insight to Peter Sinfield’s masterful wordplay, which graced their next three releases.” LP
“The original A-side concludes with the powerful sonic imagery of Epitaph. The haunting Mellotron wails, and Fripp’s acoustic – as well as electric – guitar counterpoints give the introduction an almost sacred feel, adding measurably to the overall sinister mood. Giles’ percussion work provides a pungent kick during the kettle drum intro and to the aggressive palpitation-inducing rhythm in the chorus.” LP
“Moonchild is an eerie love song that is creepy, bordering on uncomfortable. The melody is agile and ageless, while the instrumentation wafts like the wind through bare trees. Developing out of the song is an extended improvisation that dissolves into a non-structured section of free jazz, with brief guitar lines running parallel throughout.” LP
“The title track, In the Court of the Crimson King, completes the disc with another beautifully bombastic song. Here again, the foreboding featured in Sinfield’s lyrics is instrumentally matched by the contrasting verbosity in the chorus and the delicate nature of the verses and concluding solos.” LP
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Last updated May 17, 2011.
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