Is it an accident that the glancing glockenspiel figure heard at the beginning and elsewhere within the track bring to mind the motif which bookends the original studio version of Larks’ Tongues In Aspic Part I? Maybe but with Crimson and the heft and weave of musical information that’s woven into their music it doesn’t pay to take such things for granted. Certainly the Jakszyk-Fripp interlocking guitars referring to the ‘80s vocabulary, and the appearance of mellotron in the first chorus adds another layer of association and excitement.