The reviews of TCOL on the Guestbook & in ET cover a fairly wide spectrum of responses, mostly favourable. But if the album isn't welcomed on these two sites - hey! - it won't be welcomed anywhere. Here's one example from ET:
Date: Fri, 28 Apr 2000 03:07:13 -0400<Perhaps what is expected by the fan is not necessarily useful to the artist.>
Yo! dude, you is the groover, I say to Timothy. Responses from myself to these, and other, commentaries :
It's not possible to judge the new incarnation of King Crimson the group, rather than the album, from listening to TCOL on its own. A reviewer (professional or not) will have to hear ProjeKct X and TCOL back-to-back to form an impression. And even then, this will be a view of the group in a recording studio rather than live act.Historically, KC studio albums have favoured Dr. Jekyll: Mr. Hyde came out to play at shows. KC & PX present both personas on different CDs released (almost) simultaneously.
TCOL is primarily composed. ProjeKct X is primarily improvised.
There are six different creative strategies (plus an invisible seventh). Composition & improvisation are two of these six. Composition is the strategy where we order musical materials, to establish what is possible. Improvisation is the strategy where we make room for the impossible. In any full, complete & rich process, all six strategies will be involved. This is rarely the case in practice: individuals generally tend to be limited to one or two basic strategic functions.
If I wish to draw upon my personal musical vocabulary (which began to speak to me in 1971) I am not prepared to censor myself. I no longer feel governed or directed by the dictates of fashion or current taste. This is partly a function of maturation.
For example, in 1981 (after the punk explosion) it was impossible to talk publicly in the dialect & argot of 1972/4. This was:
A function of fashion, and a generational reaction to the excesses of the prior generation.
A function of music. In 1969 KC & other rock groups of that generation felt able to draw upon the European tonal harmonic tradition ("classical" music). After 1976 world musics became more freely available. This musical influence mainly "replaced" the European influence in 1981-84 Crimson.
Now, after 31 years KC, has its own identity regardless of the mainstream & current fave raves. So, for my contribution to material on TCOL, I gave myself permission to access & use any musical materials or vocabulary which sounded right & felt convincing. This (as above) is distinct from 1981 (constructing "Discipline") where I censored my vocabulary of 1971-74; and 1994 ("THRAK") where I censored the vocabulary of 1981-84 (such as the interlocking guitar lines).
On TCOL, where an idea lead, I followed.
I'm not sure that I have to rationalise this, and certainly not justify it. But if I were to present a basement answer to the question: "Why `FracKtured'?" it might be this:
I'd like to play Fracture again, but it's not a piece for this Crimson. It's Crimson historical repertoire, and good repertoire, but it's part of the lives of other people, in another country & another period.
I read enthusiast feedback on how much enthusiasts would like to hear "Fracture" live.
If Crimson did play it again, Pat, Trey & Adrian would have to learn the parts of Bill, John & David. That wouldn't work, for several reasons. Like, they were not involved in the process of that music coming into the world. We have an entirely different relationship with a piece if we were a "parent" to it. And "Fracture" requires more than purely professional skills to make it live.
I have some reservations with the piece. If I were going to rewrite or rearrange it, I'd probably begin again.
If I did begin again, what would it sound like?
Another approach: addressing the same musical intent today, & speaking with my own voice, working with these people in this incarnation, what might happen? One answer to that is "FraKctured". It's not "Fracture", but it is close family.
Similarly, "Larks' IV". This band is not going to play "Larks' II", which was written for other people at another time. But, if I were to address the same issues under the conditions of present time, place and person, what would happen?
So, we are looking at a third creative strategy here: renewal.
The musical identity, "tradition" or "way of doing things" is given - King Crimson! - and this is one way, within that tradition, of keeping the creative process moving. The externals may sometimes seem familiar, recognisable, and even appear to be the same, but the inside is fresh.
The physical incarnation is also renewed, kind of, certainly from the last KC quartet formation (1984). And it's also not yet quite born - delivery is anticipated in one week's time. This KC incarnation is essentially a rock group. It hasn't been quite like this since 1974. The rock power then was John, the rock power now is Pat.
Please remember that we're making this up as we go along. We don't know how this group will be or sound live, although I'm beginning to get a sense: it's KC as rock group. Not avant garde, fusion, prog, reformation classic rock, or improv. A rock group: the King Crimson rock group. But that's only today, on the basis of 10 days' rehearsals.
If anyone is wondering about coming to a live KC show, and knows precisely & exactly what they want, or expect, KC to be (especially given the high price of tickets) don't come. Two of the reasons I was hoping for lower ticket prices: for the undecided to take a chance, & to encourage young, innocent & under-earning ears.
If you expect / want a radically new KC which sounds utterly unlike anything you've heard before; or a Crim which sounds very much something you've heard before; save your money. If you don't like TCOL, you probably won't like us. Wait until you read reviews or feedback on the net - these will begin in 8 days time - and then consider your position. But only come if you are prepared to get engaged. Can I get clearer than that?
18.08
Adrian fell asleep this afternoon, after our lunchtime work. So the Rhythm Buddies got grooving, P3 swung into action and then practised the terrifying parts of "FraKctured". It remains terrifying.
18.29
Pat is packing up his equipment: we're moving in to a rehearsal space tomorrow, to accustom ourselves to playing in larger spaces.
"Our living is as rich as our attention is available."
