At the end of Trap we hear the band launch straight into Heptaparaparshinokh only to have it abruptly cut short as Fripp takes to the microphone to remonstrate with snap-happy elements in the crowd. “This is not a photosession. This is a place for dancing to music and listening to music. There is a tradition where one photographs bands. For myself, I use my ears and not my eyes for music. For those with cameras please put them away” he says somewhat testily before the band resumes with Heptaparaparshinokh.
A wickedly dissonant and sharply angular Thrang Thrang Gozinbulx gives way to a smoother and accessible Boy At Piano. The band’s ability to reconcile those contrasting elements with a blunt efficiency is a key element in the LOG’s success. Although subtlety isn’t an obvious weapon in the band’s arsenal, the combination and exchange of different time signatures between the front and back line is clearly crucial to the development of King Crimson’s next phase. You might well be able to dance to this stuff but there’s also quite a lot more going on that a bit of cutting the rug.
A wickedly dissonant and sharply angular Thrang Thrang Gozinbulx gives way to a smoother and accessible Boy At Piano. The band’s ability to reconcile those contrasting elements with a blunt efficiency is a key element in the LOG’s success. Although subtlety isn’t an obvious weapon in the band’s arsenal, the combination and exchange of different time signatures between the front and back line is clearly crucial to the development of King Crimson’s next phase. You might well be able to dance to this stuff but there’s also quite a lot more going on that a bit of cutting the rug.
