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The ConstruKction of Light

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The ConstruKction of Light + Power To Believe + Three Of A Perfect Pair
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Product Details

  • Audio CD (Oct. 17 2011)
  • Number of Discs: 1
  • Label: WHD
  • Other Editions: Audio CD
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (110 customer reviews)
  • Amazon Bestsellers Rank: #39,063 in Music (See Top 100 in Music)

1. ProzaKc Blues
2. The ConstruKction Of Light
3. Into the Frying Pan
4. FraKctured
5. The World's My Oyster Soup Kitchen Floor Wax Museum
6. Lark's Tongues In Aspic-Part IV
7. Lark's Tongues In Aspic-Part IV
8. Lark's Tongues In Aspic-Part IV
9. Lark's Tongues In Aspic-Part IV
10. Coda: I Have a Dream
11. Project X: Heaven And Earth

Product Description

Product Description


King Crimson has never been so much a band as an adventuresome modern musical academy, a prog-rock institution presided over by headmaster/guitarist Robert Fripp with a playfulness that often belies his more scholarly goals. And though its alumni have gone on to contribute to a dizzying array of more commercial enterprises (including Emerson, Lake & Palmer, Yes, Bad Company, Foreigner, and Roxy Music), Fripp's dedication to experimentation has relegated him to influential cult status. Entering its fourth, unlikely decade with ConstruKction of Light, King Crimson's pared-down quartet (Fripp, 80's recruit/guitarist Adrian Belew, and '90s inductees Trey Gunn on touch guitar and Pat Mastelotto on drums) offers up a curiously lugubrious mockery of rootsy Delta despair ("Prozac Blues") before venturing into the familiar, hypnotically polyrhythmic soundscape of the title track, the challenging harmonics of "Into the Frying Pan," and the delicate, spacious constructions of "FraKctured." "The World Is My Oyster" is almost Floydian in feel and scope, though the Pink brigade haven't made music this oddly compelling since the '70s. There are monster chops throughout, as well as some heavy riffing that underscores Crimson's continued influence on bands like Tool, Marilyn Manson, and Nine Inch Nails. ConstruKction is as restless as it is modern--and progressive in all the right ways. --Jerry McCulley --This text refers to an out of print or unavailable edition of this title.

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Customer Reviews

3.8 out of 5 stars

Most helpful customer reviews

Format: Audio CD
ConstruKction of Light is great. I really don't claim to know why i really like certain Crim albums and kinda dislike others. Crimson is such a diverse band who has been through so many stages, all with some top-notch, and not so top-notch work, that it really just comes down to preference. But i must say CoL is probably in my top 5.
First, i know the references to days of Crimson past annoy some people who claim it's Crimson saying "they're out of original ideas". But i find them kinda cool in that "im a member of the Inner Crim Circle" kind of way. The lyrics i actually liked as well. ProzaKc Blues is actually kinda funny, and a humorous take on modern society. And the references in "I Have a Dream" i felt were great too. "Symbols of our life and times" indeed.
But let's face it. The bread and butter of any KC album has always been the music. So how does the music on CoL stack up to the classics? Quite well i'd say.
ProzaKc Blues is classic Crim. From the wacky beat and riffs to the traditionally un-traditional bass vocals. The ConstruKction of Light certainly isn't the best Crimson instrumental ever, but it holds it's own. And then in the second part the vocals elevate it to a better than average track. Into the Frying Pan is perhaps the best track here. With it's mix of metal guitars and Thrak-like heavy beats it's my personal favorite on the album. FraKctured, despite the fact that it has some fantastic playing on it is kinda pointless and aimless. No need to improve on the perfection of the original. The Worlds's My... is kinda the companion piece to Into the Frying Pan. Both have the metal riffs with heavy beats and sporadic, yet excellent soloing throughout.
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Format: Audio CD
I know that "The ConstruKction of Light" has many admirers among King Crimson's legion of "Audients," but I respectfully dissent from the consensus view. Although this record has its highlights, Fripp and Co. serve up way too much bluff this time around. It's a rare duffer in an otherwise stellar discography.
The opening track, "ProzaKc Blues," is as offensive and unlistenable as anything Crimson's produced since 1970's grotesque "Lizard." The title song, which follows, features impressive instrumentation, but sinks once Belew chimes in with embarrassing lyrics about alien genitalia and whatnot. More zaniness follows with "Into the Frying Pan" and "The World's My Oyster Soup Kitchen Floor Wax Museum." At this point the record has become the aural equivalent of a David Lynch film: much talent wasted on weirdness for weirdness' sake.
The only genuinely impressive tracks hark back to past glories ("Larks Tongues in Aspic Part IV" and "FraKctured" - darn, this "Kc" thing is getting annoying to type!) Everything is overproduced to the point of inducing listener fatigue.
For a sample of recent Crimson at their finest, go for 1995's brilliant "Thrak" or 2003's return to form, "The Power to Believe."
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Format: Audio CD
Before you all reach for paper and pen, there is not a spelling mistaKe in the title, that in Crimson-speaK is something done as a joKe, very highbrow humor, which is also translated in their rather quirKey music.
As King Crimson went into their third decade of maKing music, all under the leadership of Mr Robert Fripp (now in his seventh decade), they showed with this marvelous album that they had lost none of their relevance in today's progressive-rocK scene. This was the first studio album from this lineup since losing the services of Bill Bruford on Drums and Tony Levin on Bass Guitar. Not that this was too much of an inconvenience to the band. As before they had been what Fripp cheerfully called a double trio with two drummers, two bassists and two lead guitarists. (Get the Live album "Vroom Vroom" to hear this lineup in all its live magic). So, pairing down to a simple four piece was not much of a problem, specially when you have the caliber of musicians that were left .
Over the years a succession of musicians have gone through the ranKs of King Crimson (maKing Bob Fripp the progressive rocK equivalent of John Mayall in his BluesbreaKers), many going on to superstardom in bands such as 'Asia', 'Yes', 'Emerson, LaKe and Palmer', 'Bad Company', 'U. K.', 'Foreigner', and 'Roxy Music'. Always leaving Bob Fripp to carry on with the band in his own style, obviously a style that fits in with Adrian Belew very well, as he has been playing guitar, writing, and singing the lyrics for over twenty years. On stage Adrian Belew has the pleasure of being center stage and focal of attention, as the man in blacK (Robert Fripp) has always preferred to watch over his musicians and play from a seated position either at the side or bacK of the stage, well away from the front lights.
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Format: Audio CD
I have been a fan of this fine band since 1988. Seeing Levin and Bruford play together with Anderson Bruford Wakeman Howe in 1989 was the closest I thought I'd ever get to see Crimson play and this served as a shining memory until I saw Fripp and Belew share a bill in DC in 1992. I figured I'd seen all 4 members of the 80s version of Crimson and could die happy. Sure, rumors floated around about a 90s version, but who could tell?
And then came VROOOM. I was floored by this when it came out in 1994, excited by the double trio and the amazing possibilities. When THRAK was released several months later, these possibilities were realized. And then they toured. And I saw them. Crimson with the double trio was pure bliss, combining prog and math rock with energy, exuberance, skill, and might. This was a band that proved rock exists after 40. And it couldn't last. Levin and Bruford left, but with a streamlined rhythm section of Mastellotto and Gunn, Crimson went on...
I almost want to say it's unfortunate the band continued based on this record. While it maintains the skill of the previous Crim, the might and power drain out completely. The songs are completely inferior to anything done since Lizard (my previous least favorite) and the lyrics... banal. Another grievance is that the record just sounds horrible: drums are thin and weak and the bass doesn't have enough oomph. The guitars lack the force they held on THRAK (though it's hard to compare with the onslaught of that record's title track). It's embarassing that a four-piece of this skill could turn out something this sad. Even more embarassing that the three-piece Crim of 1974 churned out a record that puts this to shame in sound quality (not to mention song quality).
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