25 March 1999

25 March 1999

The final night of ProjeKct 3 also marks the end of this particular era of the ProjeKct experiment. Freed of the weight accompanying King Crimson, P2, P1, P4 and P3 were all radical and genuinely exploratory vehicles that pointed towards several possible Crimson futures. The energy generated by each configuration had its own special heat signature and P3’s was especially distinctive and on the evidence of this gig alone, positively incendiary.

Eye-witness Claudia shared her view of the gig with the readers of Elephant Talk: “In such an intimate setting it is important to observe that the rhythm section composed by Pat and Trey is in constant connection with Robert, who gave them cues with a mere look or signal with of the hand. The band was so tight it was unbelievable. They had so much FUN. An observer friend of mine who was at the SXSW show on Sunday remarked that the show was somewhat less polished, perhaps because of the time constraints. Tonight, however, I SAW the new King Crimson in action, I felt that I was at a special rehearsal of the new material we will all be seeing (and hearing) in the future on tour...I was very lucky tonight: I got to see the whole show from the very front of the stage, leaning against it and feeling Trey's bass notes on my leg crawling up my body. The crowd was mostly male ( so what's new), so I doubt that many of you folks felt what I did...”

Fripp’s verdict? “lots of fun. Antone’s is a good venue: good sound on stage, large enough to open up and small enough to smell the crowd.”

This gig has previously been released in edited form as KCCC 27

AUDIO SOURCE: Sound Board Recording

DGM AUDIO QUALITY

AVERAGE CUSTOMER RATING

TRACK
TIME
01
Beatbox 160
19:21
02
Super Slow
07:35
03
X chayn jiZ
09:09
04
Hindu Fizz
01:51
05
Heavy ConstruKction
04:49
01
Introductory Soundscape
05:29
02
Seven Teas
06:55
03
Light ConstruKction
00:53
04
Four Over Five
08:04
05
Seizure
09:02
06
ProjeKction
04:34
07
The Deception Of The Thrush
08:15
Written by William Jenks
Antone's in Austin
If this show were just to appear in my music feed without any context or any of the other P3 shows, I'd be going on about how great it was. Having downloaded the whole set of 5 available shows, it's not my favorite, though it still has much to recommend it, especially if there is something special you want to hear. For me, Beatbox takes too long to find its way. It has some great sections, really represents an exploration, rather than a finished product. Of course, that's the nature of a 20 minute improvised piece, I imagine. Other tunes that are available in other shows (e.g., Superslow, XchangJiz, etc) are all fine; they're just not my favorite takes. The second half of the show picks up (again, for my tastes). Seven Teas might be a distant cousin of Industry and Four over Five is a highlight. It is another high intensity romp with plenty of direction. I prefer this version of Seizure to the one on the March 21 show for that same reason. Overall, I would have loved to have been at this show and no one would go wrong with it. But if you are looking for a single show from this series to download, I might go elsewhere.
Written by Frank Hadlich
Creative Peak
Hot rotation since I received it as KCCC release nearly 10 years ago.I was surprised to learn recently that the club was so small, and only a few dozen punters to experience what was to come... just... - the peak! The culmination of the 3rd Crimson that started somewhere with S-F-G back in ’92. The gig is so intense and concise, nearly every idea that has been developed in P2 and P4 is dissected, amalgamated and a reassembled - PM, TG and RF play as if there was no tomorrow. In fact, there was not, as this is the final regular gig of the fraKctalisation. I compare the evidence of this gig with the bootlegged NYC gigs in a row in ’81 - the ultimate and pretty early, so to say, peak of the prior incarnation. And a very example that the tiny clubs do the best to the artist’s creativity and the audience’s openness and appreciation. It is a shame if such gigs are not recorded for posterity...F
Written by Kevin Combs
like watching Picasso paint
This was an unusual situation, to say the least. Antone’s is justly famous worldwide as "the Home of the Blues". ..they made a real departure on this night. It is my understanding that the show was hastily booked after 4 mutually-pleasing Texas dates for P3 at 3 other venues; a final hurrah. I didn’t hear of it until the day of the occurrence- by word of mouth. I arrived at the club to find there was no admission charge. Not only that, but due to some screwup regarding their permit Antone’s was not allowed to charge for alcoholic beverages…but they could legally give them away! Nicely lubricated I sat in the cluster of folding chairs stagefront with maybe 60 well-behaved fellow travelers…the place was far from full. Then it started- LOUD Mastoletto martial electrobeats with slinky stunguitar weaving through in skillful sonlc balance. Random and disciplined concurrently. The playing that evening was overall very aggressive without any semblance of chaos. Many nods and glances onstage served to guide the affair…it was impossible to tell if any of it had been scripted in advance. Themes morphed effortlessly into others. There were no vocals. We were all uplifted by the outcome. Very satisfying.
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