The Power to Believe

While Crimson were lumped with other classic progressive rock bands like Yes, Genesis, Jethro Tull, ELP and several others, Crimson possessed a darkness and a heaviness which set them apart from the rest. To make a personal hypothesis, symphonic-oriented bands like Tull and ELP seem to be generally more appreciated by the older crowd, while Crimson possessed more of a darker, heavier, sinister edge that many vituperative-loving youngsters -- whom otherwise wouldn't have much use for the sophisticated works of prog-rock -- felt they could latch onto. This definitely isn't "your daddy's prog-rock," but more like the prog-rock of kids who locked up their parents in a closet, threw away the key, and added their OWN twist on things, which would again, point to irony, given that the folks who created this music assumedly average a half-century in age. (Note: if by chance, you stumble upon this page and review, doubt that prog-rock could be heavy and "boring," and haven't heard a thing from Crimson, head straight to their 1974 release, RED.)

Robert Fripp (guitar), Adrian Belew (vocals/guitar), Pat Mastellotto (drums - though credited for traps and buttons, don't ask me what they're supposed to be) and Trey Gunn (Warr guitars -- guitars that mimic guitars, basses, and sometimes keyboards) continue on their strange and compelling musical journey. This album sees Crimson making complex, technical hard rock/metal, but this time out, they've trimmed things quite a bit to be more succinct and concise, and the results are very impressive. Within all the heaviness, there are moments of ethereal beauty that one probably wouldn't expect from Crimson -- not to mention that the album is addictive and utterly fun.

The album opens up with a theme that revolves around the title track, bringing some resemblance to the cyclical theme running through IN THE WAKE OF POSEIDON (1970). It features a processed a cappella vocal from Adrian Belew, which brings some atmospherical resemblance to Dire Straits, as well as some 80s new wave bands, before sliding into the heavy, menacing "Level Five." Opening with an ominous 7/4 crunch, the phrases teeter between ascending and descending, which eventually give way to a scrumptious climax: the climactic riff lifted straight out of "FraKctured," was used as this track's climax as well. Then, come around the 5:03 mark, the main song's riff is repeated, but altered in key, which sounds very similar to the ominous, cello-laden middle section of the title track to 1974's RED. "Eyes Wide Open" is an ethereal, ambient ballad with dreamy, oriental-like soundscapes. Crimson? Ethereal, poignant and dreamy? Who knew? A very beautiful number. "Elektrik" begins with some airy, woodwind-like soundscapes, which I'm guessing are spurted from Trey Gunn's Warr guitar, before kicking into one of the most addictive, grooving, head-bopping sections to be heard. The guitar passages seem to coil around one another like two or more snakes, which seem confusing, at least on the surface, while the soundscapes in general sound like perfect music for a video game. "Facts of Life" features some quirky, yet unusually thought-provoking lyrics, as we see Adrian taking on something of a Neil Peart role - philosophically discussing...life!

The second part of the title track is an ambient number featuring a multitude of soundscapes. The first section can please many hydrophiles with those drip-drop sequences, while later there's a soothing section of chime-like beauty that can lull a baby to sleep. "Dangerous Curves" is an exercise in tension: the orchestration seems to mostly ascend in pattern throughout the song, which naturally links up with the steadily increasing dynamics before a creepy explosion closes out the song. "Happy With What You Have To Be Happy With" has been said to be a mockery of numetal bands, but, I think the members are generally poking fun at any musician who writes in standard, typical verse/chorus/verse format. The chorus is 11/8-ish, which isn't odd, given that 11 is the exact amount of syllables in the title (11 syllables = 11 eighth notes.) That sinister laugh heard somewhere near the end of the track shows the boys having some fun - even if it were on sinister accounts. That, to me seems like the real ending of the album, as the last two parts of the title track seem like bonus tracks tacked onto an otherwise excellent album. They're enjoyable on their own, but in context with the rest of the album, they seem like filler, and wasted space.

Not much more can be said from me. Robert Fripp and company continue to make interesting music. This album is intelligent, sinister, aggressive, poignant, fun and hilarious. Worth adding to your collection if you're a Crimson fan.

"The Power to Believe" opens with a simple version of the title piece, labeled a cappella is a bit misleadingly, since Belew's voice is so intensely filtered and processed electronically. "She carries me through days of apathy, she washes over me. She saved my life, in a manner of speaking, when she gave me back the power to believe." This is followed by a monstrous (i.e., rocking, great!) piece, "Level Five," reminiscent of "Discipline."

King Crimson always includes lovely, acoustic tunes to soften the blows, and "Eyes Wide Open" represents yet another shimmering entry, just as attractive as the best of "Beat." "Elektrik," begins with woodwinds and smashes into a piece that recalls "Red" and the "Larks's Tongues" series. "Facts of Life" is expansive and mysterious in its opening, and we again are banged up against the side of head with a rocker that harkens back to "Indiscipline." Belew is in his element, singing soulfully over the cacophony, tongue-in-cheek.

After the wickedness of "Facts," a return to the calm and introspection of "Power" is in order. This is an extended exploration of the musical theme introduced a cappella by Belew. The atmospherics remind me of moments from "Larks' Tongues" and "Three of a Perfect Pair." Exotic percussion builds in intensity and accompaniment by electronic glissandi in high and low registers take this soaring to the skies. Although I don't recall seeing other reviewers mentioning this, I think this is yet another reason why comparisons are being made to the masterful album "Discipline." I haven't heard anything like this from Fripp since "The Sheltering Sky."

"Power" is followed straight up with the climax of the album, the spectacular "Dangerous Curves." Echoes of mellotrons lead into a piece that is not unlike "The Devil's Triangle." The percussion is driving and the engineering crystal clear, which is fortunate because the piece becomes very loud and requires no more distortion than what is intended.

A time-warp takes us into "Happy with What You Have to be Happy with," a humourous and rocking knod to and knock at post-metal mediocrity. The final two tracks reprise "Power," and the sparely accompanied melody is, in the final analysis, quite moving.

I find this latest contribution to be instantly compelling. I listened to it immediately five times in a row, and it took about that long to figure most of it out. Incredibly, yet another masterpiece from Fripp and his team, and, I would argue, overall the best work King Crimson has ever produced. Practice makes perfect!!