August 07, 2008
	Park West    Chicago, Illinois

Redefining the Classics   August 20, 2008
Written by rhammill

I was at the Saturday show in NYC and the mix was a bit off where I was sitting in the mezzanine, so I was looking forward to hearing this show to find out what was really going on.

While it was obvious that the double-drumming has a huge impact on the material, what’s most noticeable to me (and quite frankly astonishing) is the way that Tony has redefined the bass parts as well.

Some of them were of necessity. Construcktion of Light was one that I was particularly interested in, since it’s not all that simple in its approach to begin with, along with Tony’s commentary on his site. And while I know it’s different, his approach is so compelling and fits so well that I can’t even remember what he’s "supposed" to be playing. In many cases I think he went with a simpler part (in terms of playability) but incorporated bass chords and such that really hold it together well, perhaps in a more immediate way than the original.

But where he really jumps out is in Red. On this and many other pieces this time he opted for the Stick. Perhaps as a result of the focus of the last solo album, and possibly because he seemed to be travelling lighter this time (no NS Upright, which I still think would be killer on Red). As a result, instead of sticking with the standard driving bassline here, he’s playing along with the guitar riff while maintaining that driving beat at the same time. It’s not the same exact riff, but an intepretation of it that makes this version (along with two drummers) the heaviest version I’ve heard.

The area that I think didn’t work as well as it might is in the few places they opted to highlight the drummers during the tunes. For example, in Neurotica they’ve chosen to drop the chaos of the thrakking guitars, leaving only the bass and occasional car-horn effects from Adrian (which are low in the mix). I thought that the guitars dropped out of the mix at the show. These segments had previously provided a great musical representation of the chaotic city streets and that’s lacking now.

Missing in action were Pat’s loops and samples. Granted, with the two drummers it would be a bit much. I also think that the mix of Pat, the loops and Trey were a remarkably original rhythm section and were particularly adept at tying into Robert’s soundscapes. The Improv on the Tour Box is a perfect example of this. But that approach is for a different band, and Pat has proven himself to be a master of adaptation. In addition, the Double Duo seemed to have a more introspective approach to the music, whereas this lineup was truly more celebratory.

Perhaps that’s a result of the purpose of this series of shows, possibly it’s contributed by Robert’s gear giving him the freedom to just play, and also to direct the center of attention to the rest of the band and the music. Whatever it was, for me-and the music-it worked.

In any event, this is a new Crimson, even if they were "only" playing the old material at these shows. Almost every song has a fresh approach to it, and the energy is phenomenal. The only thing that is possibly lacking in a few of the tunes (even when I saw them a few nights later) is the precision, and that seems to be sacrificed for...in King Crimson of all places...FUN.

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