3 of 3 people found the following review helpful
5.0 out of 5 stars
Beyond description, Jan 1 2008
It's very hard to describe this album, because it doesn't really fit into any genre easily. If you're a KC fan and you don't own this album, then you are in for a treat. If you have never heard of King Crimson and you are an audiophile who can appreciate a great recording on it's own merits, you are in for a treat. If somebody told you about this album and you have never heard King Crimson and you are a fan of grooving, polyrhythmic, adventurous, genre-defying music played by world-class rock musicians, then you are in for a real treat. To top it off, Adrian Belew is a great vocalist. All very good reasons to check it out.
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3 of 3 people found the following review helpful
5.0 out of 5 stars
Discipline terrific stuff, Mar 30 2005
By A Customer
This is the first album from the 1980s incarnation of the band. Tony Levin (bass) and Adrian Belew (vocals, guitar, lyricist) join long-timers Robert Fripp (guitar) and Bill Bruford (drums) to make for the best set of musicians to grace the band. The sound is much leaner than before, with hints of the pop-ish sound that was to come. This album doesn't have a bad track. "Thela Hun Ginjeet" is a rocking guitar over a breathless narrative; "Matte Kudasai" is hauntingly beautiful; and "Frame by Frame", "Elephant Talk" and "Indiscipline" are very good too. The interplay of two guitars, percussion and bass is magical throughout, and Belew's vocals complement it perfectly. There are two instrumentals, and there's not an indulgent moment or sound on either. "Discipline" and the follow-up "Beat" are definite musts for your CD collection.
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1 of 1 people found the following review helpful
5.0 out of 5 stars
Fripperfection, Jun 13 2010
This is the album that defines the "before and after" for the Fripp-style musicianship that so many people love, and so many alt-rock groups have tried (sometimes successfully) to replicate. Rhythmic patterns, guitar play, Belews's Talking-Heads-influenced outpouring (Brian Eno had earlier produced "Remain in Light", an album that is the mirror image of this one, where Belew did great work), layers and layers of guitar and pseudo-guitar, Tony just being there with the right note, Bill hitting the drums as if the Final Judgment had just sent a summons.
This is as close to perfection as anything that came out in the early 1980s. Better than everything Crimson did in the 1970s, which is a high bar already, and pretty much anticipating much of what was to come. "Beat" and "Three of a Perfect Pair" are great but never as good as this one.
With the entire British scene having fallen to pieces in the wake of punk, reggae, Elvis Costello, and that empty feeling of not being able to replace greatness (Led Zep, Peter Gabriel, Steve Winwood, The Who, The Stones, Eric Clapton, Jeff Beck: none of them was getting any younger) with pretensions (not just a pun about The Pretenders... U2 anybody? Duran Duran?), this album is a pretty lonely gem for its time.
Yet it is not for everybody though. For people who need neat melodies and comforting harmonies, satisfaction may come at too big of an expense. For the thinking person, this record is maybe the greatest achievement of its decade.
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