10.39 am. A tale of two rooms. In the studio, Punk continues to do battle with the architecture of "Oyster Soup". Fripp and Belew have now been banished to the outer reaches of the stereo, leaving the centre stage to Trey's bass and top Warr guitar. Whether or not these fit with the percussive explosions is the next question. Another challenge from the Rhythm Buddies.
In the Tall Pointy One's office, is the wonderful, soul churning, surprising, future beckoning, "Requiescat" – the choral soundscape performed by the Dutch Metropole Orchestra. Never have King Crimson sounded so irrelevant. I know that Fripp is interested in combining soundscapes and Crimson. He is a driven man, and may succeed. He may even make astonishing music. For me, time has moved on. I no longer want the vocabulary and instruments of rock music. Unless this is King Crimson that is not King Crimson. And even then.
1.45 pm. Punk has finished his "power nap", and Oyster Soup has given way to "Cage" – the lounge version. The Gods decided that Ade's acoustic guitar should not find its way onto the ADAT, but, trusting the process, we have created an interesting mix with the part as present in its absence, as it might have been otherwise. Or not. On the occasions where his chords are vital, they have appeared magically from another time and another place courtesy of the computer.
Sean Fitzpatrick has called to discuss negotiations with EMI. If only they could cease to be everything they are, they would be the perfect partner.
"Act in private as if your behaviour were known in public."
