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The Drive to 2016
:: Posted by davidly on November 27, 2015

It would appear that I just snagged two front row & center seats to the Crim in Berlin.

:: Posted by PPmINTY on November 27, 2015

No disrespect to the good folks of Roland... but like a lot of digital electronic instruments manufactured in the ’80s and ’90s, V-Drums were very much ’of their time’ and the sound of them hasn’t dated at all well.

I found V-Drums a lot more fun to play (good practice pads!) than they were to listen to, even in the hands of an expert practitioner like Pat Mastelotto. Frankly, I couldn’t see the point of all that physical effort just to make a human player sound like a cheap drum machine! No electronic percussion patches (even ones derived from samples) can compete with the real sounds made by real drum kits pushing real air molecules around in real sonic space. Sampled sounds have (novelty) value in the right context... but as the basis of an entire drum kit...?

I can also understand Bill Bruford’s viewpoint that he had personally taken electronic drums as far as he could (citing many of the technical disasters encountered with Mr Simmons’ finest). He wished to return to playing real acoustic drums and make mainly acoustic music (both with his later version[s] of Earthworks and with Michiel Borstlap). He continued to invent new ways of approaching The Drum Kit, but had come to realise that electronics were not the way to do that... not if he wanted to make musical recordings (and performances) that would stand the test of time, rather than sound contemporary to the period they were made. All electronic instruments have that tendency.

I personally think that, through their persistent (albeit pioneering) embrace of the very latest digital technology of the day, some of the music that King Crimson made in the studio throughout the ’80s to ’00s has dated less well than many of their earlier ’analogue’ efforts ("of their time").

I agree with the gentleman who said that if you want a ’representative’ recording of the Fripp/Belew/Gunn/Mastelotto combo, then you should probably pick "Level 5" off the shelf, rather than either "TCoL" or "TPtB".

I would also put forward the view that (for many of the reasons given previously) I nowadays find ProjeKCT One to be the more satisfying listen of all of KC’s fractal ProjeKCts. If Robert’s intention at the time of the Double Trio’s fractalisation (re: the idea of having three V-Drum players) was for King Crimson  to make music that sounded even more ’electronic’, it’s probably not a road that would have led anywhere interesting in the long term.

FraKctured AKcionadi
:: Posted by davidly on November 26, 2015

I felt that the one theretofore unexplored compositional element was a reconstruKction of perkcussion, had no idea during the run through the Projekcts that it’d be the Vs, yet felt thereafter more than happy with what I had to be happy with TCoL. Pat’s interplay on the title with the three strings made more than five senses to me. I dj’d once a month for a couple of years and played the opening five forty-nine every single time and every single time witnessed a room moved unawares. I’d’ve spun FraKctured but they’d’ve broken something; or might’ve exposed Larks’ IV but they’d’ve crapped their new Berliner pants. Nah, drums weren’t required for that album and Pat proved it as far as I’m concerned.

ProjeKcting your KC ExpecKtations on KC2000 by use of tunnel vision
:: Posted by Erik_Skysawed on November 26, 2015

The Thrak Box is not even a month old, and I doubt many have digested the full repercussions after immersing themselves into full ThraKaTTak/ATTAKcATTRrak experience, and what is the reaction? The wicked drum sound of TCoL and why the DGM troopers should skip a potential TCoL Box, as it would not be effective as a KC-fetish attribute?


Here is why KC2000 (where TCoL is only one part!) is special:

* A three year period of ProjeKcts, with lots of improvisation, in instruments and “instant” composition

* Having now access to (almost) all ProjeKcts I-IV concerts, we can witness the development of new Crimson classics, in particular “Deception of the thrush”

* The music pointing to all kinds of Parallel Universes (in true 90s fashion, where more were involved to have their go at “Collision Music”, i.e. the (im)probable merging of different musical styles which may appear – for the untrained ear – remote).

* Were there more than 4 ProjeKcts? Wasn’t there one with Pat Mastelloto & RHVL? What about any remixed forms like BPMM’s “XtraKcts & ArtifaKcts”. Have we missed out on other possible identities?

* The coming together of KC2000, ProjeKct X (the improvisational ProjeKction of the TCoL sessions), having a 2000 update on Fracture, and a fourth Larks’.

* The remarkable KC2000 tour in Europe (with the V-Drums!), with the improvisational ProjeKcts showing up at least once per concert?

* Having not only an extensive aural documentation of the ProjeKcts and KC2000 Euro tour concerts, but also Bootleg TV , so more opportunities to watch than one can digest.

* KC2000 was the only other band to be able to play “Heroes” correctly!

So a TCoL Box may be the first to go for, but it will be much more than a mere morphing into Digital Surround. Instead it would make sense to have besides the obligatory 40th and 50th anniversary mixes, an update of possible KC2000 by not only a BPMM interpretation, but also an ambient version by The Orb’s Dr. Patterson & Fehlmann, or if one could convince Bill Laswell to have a ReconstrucKtion and Translation mix. Maybe one could fetch David Bowie this time around to contribute to the finale of Larks’ IV? Plus a detailed exposé by Sid Smith on how the many possibilities of KC2000 ultimately narrowed into KC2001/KC2003.

And while we are it, what happened with the Other Boxes?

1) The Robert Fripp Trilogy: Sacred songs / Peter Gabriel (the second one) / Exposure  (in that order, thank you).

2) The drive to 1981 box (Exposure / God save the Queen/Under Heavy Manners / Let the Power Fall) with liner notes by Peter Hammill, The Roches, David Byrne, Danielle Dax and Brian Eno, and as an exclusive Amos Poe’s “Subway riders” to have at least one DVD video as a bonus.

3) The road to 1984 box (a.k.a. KC Mark IV Discipline/Beat/3 of a perfect pair) with as a goody the rhythm tracks of Discipline (the album, not the composition) to be programmed into either an African percussion piece or a Balinese gamelan piece both in Digital Surround, plus liner notes by Steve Reich and Philip Glass, plus a full photograph report by the Master Tony Levin himself, as well as the RHVL’s experience with Japanese Delicatessen (as evidenced by the Three of a Perfect Pair Japan Tour video material) has led to a strong involvement into a full exploration of the British Cake dimension in the 21th century.

4) The Sylvian/Fripp box has been put on hold for indeterminate period.

Next box
:: Posted by GregK1 on November 26, 2015

I would be very thankful for a comprehensive box incorporating the ProjeKcts, ConstruKction of Light and Power to Believe, but especially the ConstruKction of Light album. That is one of the very best records Crimson put out and I would love to hear more!

:: Posted by adbass on November 26, 2015

(My first post here for many years, my interest re-vitalized after an exciting show in Montreal last week.)
With all the negativity towards TCOL, I just wanted to say how much I enjoy the album, V-drums n’ all. For sure it’s a work in progress, but I actually prefer it to TPTB, (which admittedly has "better" production values but to me seems over-egged). I feel that the double duo version of the band peaked sometime between the two albums and that as a result their "essential" recording might just be the Level 5 EP.

TCol Drums?
:: Posted by Bakullama on November 26, 2015

I had never heard that before about the vdrums... Explains why it sounds digitally overcrowded to these ears and lacking ambience and space... Thanks for the insight if factual. I like the songs but they give me a 0101010000111000 headache!

ThraKaTTak and ATTAKcATTRrak Recording Sources?
:: Posted by pcontos on November 26, 2015

Has anyone ever determined where each of the improvs come from on both of these discs?  I thought that information might be in the new THRAK Box but they didn’t reveal.  I saw on Wiki that there was a list on ThaKaTTak but I don’t know how accurate it is.  David Singleton just did the video explaining how he chose the improvs and you can see some of the names of places on the computer he was working on but I don’t know if that is what ended up on the final disc.  Can anyone help?

I’d also be interested in Projeckt One Jazz Café Suite Collector’s Club and Schizoid Improvs from Ladies of the Road.

Thanks guys,


Re; ConstruKction remix
:: Posted by Valhalla on November 26, 2015

To my ears, easily Crimson’s most bland & a incredibly boring album, by a long shot. I agree about the ’V Drums’ also, a woeful percussion instrument indeed! They sound awful & they are even worse to play. Thankfully TPtB resurrected Crimson briefly, a much improved effort & better sounding to boot! Is there any point in remixing TCoL? Well, i suppose there could be for some people presently on planet earth, but not for this individual. Fast forward to TPtB!

The next box
:: Posted by thomasc1982 on November 25, 2015

I would love the next mega box to be a massive projekcts set, following on from Thrakbox nicely.

Ps any chance of a new 2016 tour box for next year too?

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