Customer Reviews

Thrak (30th Anniv Ed)

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Speaking strictly on the topic of rematering CDs that came out in the 90's, one is normally a bit skeptical about how improved anything could be, especially with Fripp in the picture, but God Bless him, he did it. A lot of his colleagues could take reams of pages from Fripp's book.

As to THRAK itself, this was one powerful recording when it first arrived 8 years ago, and its power has not diminshed over time. Along with the THE COURT, DISCIPLINE and RED, there is something totally unrelenting in the pursuit of MUSICKING here that was terrifying, dynamic, inspiring. For any of us who were great devotees of the double trio, this album seemed to promise so much, yet it would prove to be so difficult to follow up and take to another level. But here at the beginning, it is still astonishing to listen to what is going on. A spectacular acheivement! When you recall that most of the pop world was bopping along to Prince's Little Richard knockoffs, much as the pop world once bopped to the Rolling Stones' pale imitations of the wild ecstases of the chitlin circuit, it becomes quite clear how unprepared rock was and always is for Crimson. Years later, the avant garde takes up themes and directions for which the King gets pilloried, but in its nascent state, it suggets things far too powerful for easy digestion, and that of course is anathema to the music biz.

So here is KC going for the jugular and all hail the remastered efforts for making audible the brave thrusts, parries, leaps, and bravado of the six members of this exceptional team. Fripp seems to enjoy listing in the remasters, the very bad press they get. Some of it actually is spot on, and because of that the sheer genius of THRAK is underscored. Some of it is just plain humourous, and if you can't have a good laugh at yourself, well, ... you end UP like a disillusioned former front man for a prog-rock band, and Crim ain't your grandfather's prog-rock band.

If this is your first interest in King Crimson, oooo, good luck! Most of the folks interested in this disc would be devotees, and so forewarning them is unnecessary. I wish that the double trio might take up the cause again. Like Ornette Coleman and John Coltrane with FREE JAZZ and LIVE AT THE VILLAGE VANGUARD...AGAIN, this is dangerous stuff and tends to exact a toll, which makes the song, "One Time," all that more poignant. But for all the challenges and difficulties, Crimson actually did what very few (Ornette and Trane being the only ones I can think of) ever tried to do, let alone do successfully. Perhaps too much was revealed at the precipice where the double trio declined, and perhaps in time, the pull of that force will prove irresistable. In 1994, six men set out on an extraordinary journey. This remastered version does them great justice. This is the crucible through which all future Crims must pass.

I would recommend the current Collector's Club release, LIVE IN HYDE PARK, from the first line-up, as they opened for the Stones in 1969. Just imagine! It has all the horror and terror and miraculous wonder then as it would if they were to do the same today. And more importantly, that disc concludes with a discussion among the original team of what they meant to each other and what Crim meant in its own right that underscores not only how far Crim has come, but how true to the oracle Crim has remained.

Long live the KING!

My girlfriend is a big Crimson fan so i buy her a copy of this Cd for this Christmas.I was really curious because when i read that this is 24bit remaster i think that this will be the best present for her.It was.First the Lp like sleeve is great with new booklet witch includes photographs of band during recording.But the best thing is the sound.What can i say,it is a [HDCD].Everything from drums to bass and guitar is more present and much clearer.And the vocals are just excellent.Bass goes now deeper and is well deffined.And specialy tracks like „Walking on Air" or „One time" are from this point of view much better.In some parts we have feeling that we are listening to different record of this album.Because the dynamics is different and there is much to hear too.So if you planed to buy this excellent album (witch my girlfriend and I considered as one of the best albums of 90's) this is the ONE choice.

Meshuggah can unleash a razor-sharp dismembering tempest of metal or lay down a groove heavy enough to tear open the earth. Strapping Young Lad has seizure-inducing blasts of intensity and riffs that can liquefy bones. The Dillinger Escape Plan is a jackhammer striking every square inch of your head at once.

But King Crimson's _THRAK_ is nastier than all of them.

This time around, King Crimson's avatars comprise a double trio, featuring Robert Fripp (guitar, mellotron), Adrian Belew (vocals, guitar), Tony Levin (bass, stick), Trey Gunn (Warr guitar), with Bill Bruford and Pat Mastelotto on percussion. They have created a daunting work, both inhumanly complex and frighteningly harsh, with guitar distortion that sounds like metal being torn apart by machines, and clamorous drumming. "Sex Sleep Eat Drink Dream" is catchy as it moves around spiky grooves and shrapnel hurricanes of dense noise. "Dinosaur" is heavy, evil rock. "VROOM" in all its variations is heavy instrumental intricacy, seemingly chaotic but elaborately constructed. "People" is a mechanized funk with ringing metallic snares and guitar lines sharper than an assassin's blade.

"B'Boom" reveals King Crimson's matchless ability to create tension in music. On an array of minimalist percussion, ghostly guitar strokes create a hair-raising expectancy. The percussion drops out, leaving only a machine gun snare roll. Then the song kicks into all out war-mode, with heaving battle rhythms. The transition from here into "THRAK" is sudden and jarring. This nightmare inducing title track makes Meshuggah sound like a bunch of teddy bears. (And if you haven't had the extremely devastating pleasure -- or pain, depending on the person -- of listening to Meshuggah, just take for granted that they are sick.) The bestial guitar solo sounds like a demon matriarch giving birth. Yum. The rest is just as ugly.

Incredible how a band that unleashes the terror of "THRAK" can also lull with something like "Walking on Air", a surreally gorgeous serenade of angels. Even with six musicians this ballad never sounds crowded -- each musician contributes discerningly to the intimate sound. "One Time" is another evocative ballad proving King Crimson's mastery over both exquisite elegy and metallic assaults. Both parts of "Radio" are odd ambient interludes, and the "Inner Garden" tracks are vaporous nocturnes.

If you want to take my word for it, this is one of the best rock albums ever.

Also recommended: Gordian Knot, Tool, Cynic, Meshuggah, Spiral Architect, Dillinger Escape Plan, Sleepytime Gorilla Museum, the Trey Gunn Band.

"Thrak" was King Crimson's mid-90's return to the scene and this record show's the band's synergism (compromise?) between the three basic styles that proceeded it in their illustrious career: that is, their early jazz/Moody Bluesey virtuousity ("In the Court of the Crimson King," etc), their flirtation with dark metal ("Red," "Lark's Toungues in Aspic," etc.) and their poppier 80's days with current singer Adrian Bewlew. It is not just a synthesis of all three flavors of the band, but a progression into a new territory for them. Many of the songs are seemingly less aimless and improvisational than in previous efforts, although this is not necessarily a good or a bad thing. How terribly surprising, coming from a band that has changed so drastically in the last 30 years. Uncompromising, mostly instrumental, and indeed well-balanced, this album is my favorite since 1975's "Red." "Vroom" is wonderfully-inventive, with a wonderful opening motiff; "Walking on Air" is soothing and strangely beautiful; "THRAK" is extremely heavy and driven by a brutal, pummeling beat; and "People," while not my favorite, rings of Talking Heads pop sensibility reborn under a strict progressive fascade (at least, as far as song length goes). "THRAK"'s limited edition pseudo vinyl reissue was well worth the money I spent on it.

One of the greatest things about King Crimson is their unique ability to change from lineup to lineup and from style to style but continue to create groundbreaking music. They had "In The Court" and the three albums to follow, they had the 'John Wetton' era in the early to mid 70's, they added Belew and Levin in the early 80's and then they had this group - the Double Trio.

Even with six musicians, each member plays a significant role. The Crims appear here with the 80's lineup of Robert Fripp (guitar), Adrian Belew (guitar), Tony Levin (chapman stick/bass), Bill Bruford (drums). They also add Trey Gunn (warr guitar) and Pat Mastelotto (drums). Fripp is his usual self, playing with fuzz tones and erotically wild guitar antics. Belew is just as experimental as usual, as he begins to really take advantage of the processors available at the time to make his guitars sound like everything from violins to keyboards. He even uses a power drill on the title track! Bruford and Mastelotto complement each other great - they both contribute seperate but equal roles while still sounding tight. If you're familiar with 80's Crimson, you are aware of the monster that is Tony Levin and with this lineup he expands his horizons, taking advatage of new techniques and new instruments, such as the electric upright bass. Trey Gunn's Warr Guitar is basically a type of touch guitar that delivers in frequencies similar to that of an electric bass. Put it all together, and you have one of the most ingenius ideas for a rock band.

My favorite parts of this album are the pop songs, though they can be catchy, are never dull. This includes the serenity of "Walking on Air" and "One Time" as well as the more upbeat "Sex Sleep Eat Drink Dream" and "People." You have to love Belew's lyrics on "Dinosaur" - "...ignorance has always been something I excel in, followed by naivete and pride; doesn't take a scientist to see how any clever predator could have a piece of me."

Another favorite of mine is the title track. It reminds me of a heavy-metal/avant-garde approach to previous instrumentals such as "Larks Tongues in Aspic II". It is structured noise at its best...not too experimental in comparison to someone like John Zorn, but still pretty out there for its time. Another great instrumental is the driving heavy metal track, VROOOM. Fripp is out of control here - he makes this sound like the soundtrack to hell!

Overall, this is one of the greatest Crimson albums. It stands the test of time and can be easily listened to all the way through. There isn't much dullness. It has an overall dark mood, but not the kind to bring you down. If you enjoy this album, I would also check out a live video that's floating around of this lineup live in Japan in '95. They do almost everything off THRAK as well as a good chunk of their 80's material. Treat anything featuring the double trio in your collection as a treasure.

Thrak , the result of very well planned experimentations at a number of levels, lirycally, musical , rithms, concepts (in visual and sound terms), two sets of every section , two drums/percussions, two guitars, two war basses and two sticks. this by now legendary six members formula released a fantastic thrylogy, being "Thrak" their most esential recording, pieces like "walking on air" and "dinosaur" (this second with a middle strings section part) are overwhelming , Mr Fripp always knows how to amaze audience both in studio and live performances and with the collaboration of Mr Belew, Mr Masteloto, Mr Gunn and Mr Levin (all musicians with a large resume of experience)the sound of King Crimson has been one of the most influential sounds in progressive rock.
HM

"VROOOM: An inevitable and remorseless forward movement which carries everything before it." (KC guitarist Robert Fripp)

And so begins King Crimson's 1995 return to duty after a ten-year absence. The lineup was expanded to six here, making what they call a 'double trio' - two guitarists, two bass/Stick players, two drummers. (One of the album's little tricks is that three members are mixed into each stereo channel, so that both the left and right sides have one of each instrument.) This new group combined the neo-metal trappings of the 70s group with the melodic sensibility of the 80s lineup and gave everything their own twist. Check the opening instrumental, for example: a brief prelude on the mellotron, of all things, gives way to a heavy groove harkening back to the menace of "Red." Everyone falls quiet as Fripp picks out a quick riff, changing one note the next time, then changing a different note the next, and so on.. until it mutates into a completely different melody. Cool!

"VROOOM VROOOM: The same, but here it comes again." (RF)

Another little trick: the closing track "Vrooom Vrooom" kicks off with the same riff as the original "Vrooom".. played backwards. I listened to this album for five whole years without realizing that. No matter how close you get to picking apart the complex precision and crazy rhythms of KC's music, it's a good bet there's still a surprise somewhere.

"THRAK: The sound of 117 guitars almost striking the same chord simultaneously." (RF)

True to its definition, the title track is a study in barely controlled chaos, a simple two-note riff pounded into the ground in a maniacal fury of alternating time signatures. Adrian Belew provides a couple quiet interludes in the two "Inner Garden"s and gives us his best John Lennon imitation in "Sex Sleep Eat Drink Dream," meaningless gibberish lyrics and all. Fripp works his not-really-ambient Soundscapes into the mix all over as well, from the two "Radio" breaks (actually snippets of his Radiophonics album) to the hazy clouds that introduce the dual drumming frenzy of "B'Boom." The band's softer side is given new life with the spookily beautiful "One Time" and "Walking on Air." That last is also as fine an example of Tony Levin's superb bass tone as you're ever likely to hear. He and Trey Gunn provide an outstanding low end through the bouncy "People," which introduces Crimson to (gasp) funk. What's the world coming to?

As King Crimson albums go I give this the third-highest recommendation, after Red and Discipline. It's heavy, it's quiet, it's spooky, it's complex, it's weird. It's thinking-person's metal at its best. If you like this lineup already, the live disc Vrooom Vrooom is quite a treat.. if not, Thrak will serve as an introduction that's less expensive and relatively painless.

an excellent choice of a good chewy complex piece of music for the intellectually bored 'with the current music'

This cd is very complex, dense and full of suprizes. I feel it has everything for everyone.

Not recommended for those who like boy bands or plastic country music or pop music in general.

Good to give as a gift, intro someone into good music, give as a gift at xmas.

I had never listened to the double trio incarnation of Crimso; now I only wish they had been able to sustain the tension for a couple more albums. This is a study in fury with uncanny control and restraint. A Crimson sound that has the darkest side of Schizoid Man and the airy atmospherics of the 80's trilogy, but both extremes heavily updated. I don't think this is a good starting point if you are curious about the Crimson King. Try Red or Discipline first. It takes a few listens to start "getting it."

Being an old school chap of King Crimson i recently acquired this "Thrak", i dare say it may be better than "Discipline" and quite possibly "LTA" or "Red". To Mr. Fripp & Co. i apologize for taking so long lending an ear to something beyond comment.