"Larks' Tongues in Aspic" | |
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![]() Promotional artwork for "Larks' Tongues in Aspic, Part Two" | |
Composition by King Crimson | |
from the album | |
Released |
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Genre | |
Length | 47:18 (43:37) Individual parts
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Label | |
Songwriter(s) | Various
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Producer(s) |
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"Larks' Tongues in Aspic" is a musical suite by the English progressive rock band King Crimson. Spanning thirty years and four albums, the series comprises five parts, all of which carry unifying musical motifs. Parts I and II were released as the introductory and final tracks on King Crimson's 1973 album of the same name, part III was featured on their 1984 album Three of a Perfect Pair , part IV (itself divided into three identically titled parts) appeared on 2000's The Construkction of Light , and the final part, "Level Five", was included on the 2003 album The Power to Believe . Despite breaking the naming convention, Robert Fripp, King Crimson founder and only constant contributor to the suite, insists that "Level Five" is part of the pentalogy.
In 2011, PopMatters ranked the first part of "Larks' Tongues in Aspic" as the eighth best progressive rock song ever.
"Larks' Tongues in Aspic, Part One", the longest entry in the pentalogy, was first released as the introductory track to the album of the same name. The song is guided by the shifting guitar of Robert Fripp, but it is in the tense violin of David Cross and the chaotic percussion of Jamie Muir that Part I is defined. [1] The track goes through numerous varied acts and passages, with somber moments and a calm violin solo falling alongside periods of heightened aggression where Fripp's guitar borders on heavy metal and Muir's clangs reach cacophony. [2] [3] Bird calls, metallic clangs, horns, breaking crockery and tin ripping are all featured in Muir's repertoire, [4] [5] and, along with his percussive contributions, he coined the title "Larks' Tongues in Aspic". [6] In a 1991 interview, Muir said it was a "very admirable creative decision" for Fripp to work with him. [5] Much of the track originated from full-band improvisations that began in 1971, [7] with Cross calling it "grown" instead of written. [2] Drummer Bill Bruford said the songs were "hell" to make given the deliberate lack of in-studio structure. [8] An early version of Part I recorded by the 1971 lineup appeared as a bonus track on the 40th-anniversary edition of Islands under the name "A Peacemaking Stint Unrolls". [9]
While the first part is a many-sectioned, dynamic [10] song that has been described as having a "kitchen-sink sensibility", "Larks' Tongues in Aspic, Part Two" is much more straightforward and riff-focused, [1] with the sole writing credit going to Fripp. [11] PopMatters called the track a "roller-coaster of wrath and control". [12] The main riff of part II, which emerged in 1972 during a live performance at Richmond, Kentucky, [7] [13] is heavy and driving, drawing its host album to a dramatic climax. [14] While the guitar in part II may be the most immediately obvious aspect, John Goldsby of Bass Player called the bass in the song something that "bass players will still be talking about four decades later". [15] Fripp considered the first two parts of "Larks' Tongues in Aspic" as the refinement of his role as composer in King Crimson. [7]
According to Fripp, Part I was conceived as the beginning of a King Crimson performance, and Part II as the end. [7] "Larks' Tongues in Aspic, Part One" was performed from 1972 to 1974, predominantly in a shortened seven-minute version that left out most of the violin solo and protracted ending passage. [16] Part I was not performed again until 2014, when it was reintroduced as a setlist staple; it remained there through 2019. The new arrangement featured all of the violin segments played on guitar save for the solo, which was performed by Mel Collins on flute. Part II, alternatively, persisted in King Crimson's sets throughout most of their career. [13]
Both the first and second parts of "Larks' Tongues in Aspic" have been met with critical acclaim. In 2011, Sean Murphy of PopMatters ranked the "Larks' Tongues in Aspic, Part One" as the eighth best progressive rock song ever. [1] He revised his placement in 2017, putting part I as number fifteen [4] and "Larks' Tongues in Aspic, Part Two" as eighty-five. [12] Marc Malitz of Louder Sound judged the first part as the forty-second best progressive song ever. [2]
No. | Title | Writer(s) | Length |
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1. | "Larks' Tongues in Aspic, Part One" | David Cross, Robert Fripp, John Wetton, Bill Bruford, Jamie Muir | 13:34 |
2. | "Larks' Tongues in Aspic, Part Two" | Robert Fripp | 7:14 |
All credits adapted from Larks' Tongues in Aspic liner notes. [11]
"Larks' Tongues in Aspic Part III" was released as the closing track on 1984's Three of a Perfect Pair . [17] This part marks a drastic shift in style from the previous two entries, being created a decade later with two new people, Adrian Belew, and Tony Levin, involved. Part III opens with the same melodic motif seen in parts I and II, but the rhythms and tones are significantly different, [10] with Bruford playing a mix of acoustic and electronic drums. [17] Greg Prato of AllMusic counted "Larks' Tongues in Aspic Part III" as one of his favourite songs from Three of a Perfect Pair. [18]
No. | Title | Writer(s) | Length |
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1. | "Larks' Tongues in Aspic Part III" | Adrian Belew, Bill Bruford, Robert Fripp, Tony Levin | 6:07 |
All credits adapted from Three of a Perfect Pair liner notes. [17]
Seeds of the fourth part of the suite were gestating as early as 1995 [19] and appeared as early as 1997 during the band's rehearsals at Nashville. It was not until 2000 that "Larks' Tongues in Aspic – Part IV" was released, appearing on the album The Construkction of Light . Like part II, part IV is heavily guitar-driven, but it introduces new rhythmic and melodic motifs to the series, which would be explored further in part V. "Coda: I Have a Dream" shares some of the series' motifs, but also features lyrics and vocals from Adrian Belew. Though "Coda" was performed live with vocals in 2000, it was later performed live as an instrumental in 2001 and 2003.
On The Construkction of Light, "Larks' Tongues in Aspic - Part IV" is divided into three identically titled tracks [20] that segue into "Coda: I Have a Dream", which is followed by a minute of silence. However, part IV and "Coda" are indexed together in live releases of the 2000-2003 period, as well as the "Expanded Edition" of The Construkction of Light, which also removes the silence after "Coda". [21]
No. | Title | Writer(s) | Length |
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1. | "Larks' Tongues in Aspic – Part IV" | Adrian Belew, Robert Fripp, Trey Gunn, Pat Mastelotto | 3:41 |
2. | "Larks' Tongues in Aspic – Part IV" | Adrian Belew, Robert Fripp, Trey Gunn, Pat Mastelotto | 2:50 |
3. | "Larks' Tongues in Aspic – Part IV" | Adrian Belew, Robert Fripp, Trey Gunn, Pat Mastelotto | 2:36 |
4. | "Coda: I Have a Dream" | Adrian Belew, Robert Fripp, Trey Gunn, Pat Mastelotto | 4:54 |
Total length: | 14:01 |
No. | Title | Writer(s) | Length |
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1. | "Larks' Tongues in Aspic, Pt. 4" (including "Coda: I Have a Dream") | Adrian Belew, Robert Fripp, Trey Gunn, Pat Mastelotto | 13:03 |
All credits adapted from The Construkction of Light liner notes. [20]
Originally, the fifth part of "Larks' Tongues in Aspic" was the song "FraKctured" off of The Construkction of Light, but, seeing how it bore closer resemblance to "Fracture" from 1974's Starless and Bible Black , the band agreed to change the name late in the song's development. [22] The fifth part was ultimately released on 2003's The Power to Believe with the title "Level Five". Though nothing in the album's packaging confirmed that the song was part of "Larks' Tongues in Aspic", it shared elements of the series' rhythmic structure and form. [10] While the relationship to the suite was hinted with an early 2001 tour jam combining a riff from part 1 of the suite with part of this piece, [23] official confirmation only first appeared in the Elements 2017 box set, where it was included in sequence with the rest of the suite [24] and called "truly LTIA Pt V in all but name." [25] The following year, Fripp confirmed that "Level Five" was indeed the fifth entry in the suite, but was renamed to "unseat" the expectations associated with the "Larks' Tongues in Aspic" title. [26] It has since appeared on setlists and DGM Live downloads as "Larks' Tongues in Aspic Part V". The track is also listed on various streaming services as "Level V" with a Roman numeral, making it more consistent with the naming of the other parts.
"Level Five" is a heavy guitar-driven track with glitchy and electronic drums that provide a rare, almost industrial groove. [27] Several critics noted the sonic aggression of the song, [28] [29] [30] and some compared the guitar interplay between Fripp and Belew as similar to the music on 1981's Discipline . [31] AllMusic's Lindsay Planer called "Level Five" so intense "that it could easily be mistaken for the likes of Tool, Ministry, Nine Inch Nails, or KMFDM". [28]
No. | Title | Writer(s) | Length |
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1. | "Level Five" | Adrian Belew, Robert Fripp, Trey Gunn, Pat Mastelotto | 7:17 |
All credits adapted from The Power to Believe liner notes. [32]
King Crimson were a progressive rock band formed in 1968 in London, England. The band drew inspiration from a wide variety of music, incorporating elements of classical, jazz, folk, heavy metal, gamelan, industrial, electronic, experimental music and new wave. They exerted a strong influence on the early 1970s progressive rock movement, including on contemporaries such as Yes and Genesis, and continue to inspire subsequent generations of artists across multiple genres. The band earned a large cult following.
Larks' Tongues in Aspic is the fifth studio album by the English progressive rock group King Crimson, released on 23 March 1973 through Island Records in the UK and Atlantic Records in the United States and Canada. This album is the debut of King Crimson's third incarnation, featuring co-founder and guitarist Robert Fripp along with four new members: bass guitarist and vocalist John Wetton, violinist and keyboardist David Cross, percussionist Jamie Muir, and drummer Bill Bruford. It is a key album in the band's evolution, drawing on Eastern European classical music and European free improvisation as central influences.
The Construkction of Light is the twelfth studio album by English band King Crimson, released in May 2000 by record label Virgin. It is the first of two studio albums to feature the “double duo” line-up of Robert Fripp, Adrian Belew, Trey Gunn and Pat Mastelotto. It is the only King Crimson studio album to not chart in the US.
Heavy ConstruKction is a live three CD set by the band King Crimson, released by Discipline Global Mobile records on November 7, 2000. The album features recordings of the European tour of May to July 2000, from DATs made at the front-of-house mixing desk.
King Crimson On Broadway is a live album by the band King Crimson, released through the King Crimson Collectors' Club in July 1999. The tracks on the albums were recorded at the Longacre Theater in New York City, New York, US, on November 20, 21, 22, 24 and 25, 1995, as the band was touring to promote the album THRAK.
The Night Watch is a live album by the English rock band King Crimson, recorded in Amsterdam in 1973, and released in 1997.
B'Boom: Live in Argentina is a live album by the band King Crimson, released in 1995. All songs were recorded between 6 and 16 October 1994 at the Broadway Theatre in Buenos Aires, Argentina, except for "Heartbeat" which was recorded in Córdoba.
EleKtrik: Live in Japan is a live album by the band King Crimson, released in 2003. It consists of most of the audio soundtrack from the first disc of the band's double DVD Eyes Wide Open.
Live in Mexico City is a live album by band King Crimson, first released as a free Windows Media Audio download in 1999. Some tracks later appeared on the live albums Cirkus: The Young Persons' Guide to King Crimson Live (1999) and Vrooom Vrooom (2001), and as part of the expanded "THRAK BOX" in 2015. The album was recorded at the Metropolitan Theater, Mexico City, Mexico, 2–4 August 1996
Frame by Frame: The Essential King Crimson is a 4-CD box set by the band King Crimson, released in 1991.
Jamie Muir is a Scottish painter and former musician, best known for his work as the percussionist in King Crimson from 1972–1973, appearing prominently on their fifth album Larks' Tongues In Aspic.
Cirkus: The Young Persons' Guide to King Crimson Live is a live album compilation from King Crimson. It was released in 1999 through Virgin Records.
"Fallen Angel" is a composition by English progressive rock band King Crimson. It is the second track on their seventh studio album, Red, released on 6 October 1974.
The 21st Century Guide to King Crimson – Volume One – 1969–1974 is the first of two 4-CD sets of compilation albums, showcasing the entire production of the British progressive rock band King Crimson. This set of discs contains both studio and live performances ranging from the beginnings of the band in 1969 to their first dissolution in 1974.
The 21st Century Guide to King Crimson – Volume Two – 1981–2003 is a compilation album by the highly influential English progressive rock band King Crimson, containing the best-known songs from the group's 1981–2003 phase. No material from the album the construKction of light (2000) was included in this box set. It was released in 2005.
The Great Deceiver is a 4-CD box set by the band King Crimson, consisting of live recordings from 1973 and 1974, released on Virgin Records in 1992. In 2007, it was reissued on Fripp's Discipline Global Mobile label as two separate 2-CD sets, each featuring new artwork. The box set is titled after a song from the group's 1974 album Starless and Bible Black.
Vrooom Vrooom is a live two CD set by the band King Crimson, recorded in 1995 & 1996, and released in 2001. It features the six member “double trio” lineup of the band, with guitarists Robert Fripp and Adrian Belew, bassists Tony Levin and Trey Gunn, and drummers Bill Bruford and Pat Mastelotto.
Live at the Orpheum is a live album by the band King Crimson, released by Discipline Global Mobile records in 2015. The album was recorded on 30 September and 1 October at the Orpheum Theatre in Los Angeles, California on the band's The Elements of King Crimson US tour of 2014.
Eyes Wide Open is a live 2-DVD set by the British progressive rock band King Crimson, released in 2003. It presents two concerts filmed in the early 2000s, the band lineup featuring Robert Fripp, Adrian Belew, Trey Gunn and Pat Mastelotto.
Discipline: Live at Moles Club, Bath 1981 is a live album by the band King Crimson, the 11th album released through the King Crimson Collectors' Club in June 2000. The original release of this album is credited to "Discipline" which was the original name of this lineup before it was changed to King Crimson.
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