King Crimson pioneer’s to the Progressive style. And like many bands, there are definitive and specific periods of their existence that highlight their expansive history. Their first album “In The Court Of The Crimson King” was offered in 1969, and quickly gained a deep and devout following. By 1973, Fripp had gone through multiple line-up changes in the span of five albums. With “Larks’ Tongues In Aspic“, four new members were in on the creative experiment that is King Crimson. 2023 marks the 50th Anniversary of “Larks’ Tongues In Aspic“.
“This band is more King Crimson than it’s ever been. All the original ideals and aspirations are there – love respect and compatible ideas. It’s a magic band!” – Robert Fripp, July, 1972
When, in July 1972, Melody Maker revealed that Bill Bruford & John Wetton were joining King Crimson – from Yes & Family respectively, it was front page news. Also joining were Jamie Muir – a key figure in London’s jazz scene & David Cross – from the band Waves. Fripp’s claims about the band’s ‘magic’ were to be put to the test that autumn when, following a three night stint at the Zoom Club, Frankfurt & TV appearance on Bremen’s Beat Club, the band undertook an extensive UK tour, which ran from the end of October through to mid-December. With the exception of the encore “21st Century Schizoid Man”, the material was all new, with a heavier emphasis on improvisation than had ever been utilised by any major UK rock group on a headlining tour. The developing material for “Larks’ Tongues in Aspic” was premiered to a succession of audiences who, for the most part, had bought tickets expecting to hear something else entirely (encore notwithstanding) but who responded to the challenging set with enthusiasm.
Recorded from mid-January to the beginning of February & released in late March of 1973, “Larks’ Tongues in Aspic” became one of the most acclaimed of King Crimson’s albums as well as establishing its reputation as a key album from one of rock music’s most significant years. After a handful of further UK concerts, Jamie Muir left the band with the remaining quartet working with ever greater success until Summer 1974 when Fripp placed the band on indefinite hiatus.
Almost half a century after its release, Steven Wilson undertook the job of mixing the album for Dolby Atmos and, in the process, prepared new stereo & 5.1 mixes. The new stereo & 5.1 mixes – no doubt informed by the more adventurous mix techniques allowed by the Atmos process – are quite different in approach, more expansive than the earlier mixes as released in 2012, while still retaining and enhancing the core power of the original material.
While Steven was working on this aspect of the material Alex R. Mundy and David Singleton at DGM were mixing every single take of the original studio sessions. These unreleased early takes are presented not as traditionally blended pieces, but with maximum separation, mimicking the experience of sitting in the studio with the individual elements being performed around you. The “Elemental mixes” apply this same approach to the main album takes. An excitingly fresh view on the familiar, with the focus often falling in unusual places, some originally hidden, some unused. Four of the album’s core tracks feature: extended mixes of “Larks’ 1″ and “Talking Drum” along with “Easy Money” & “Larks’ 2”.
On October 13th, King Crimson celebrates the anniversary with a new set of remixes that will embody the upcoming classic reissue. The new reissue will provide new 2023 Stereo remixes by Steven Wilson, as well as David Singleton. All told, there will be 2CD/2BD sets as well as a 2LP package. Included on the BD will be 5.1 Surround mixes that include Dolby Atmos and DTS-HD
This 50th Anniversary set of “Larks’ Tongues In Aspic” packages will include a booklet with new notes, essay, and photos. The 2LP package offers Larks’ Tongues In Aspic pressed on 200g-weight industry black vinyl. LP1 will contain the Steven Wilson 2023 Remix while LP2 contains the 2023 David Singleton Elementals remix.
The Fat Angel Sings 