So this is finally getting its non-Japanese release, April 6. Fracture for all!
What are those final three tracks?
https://burningshed.com/king-crimson...enna_triple-cd
So this is finally getting its non-Japanese release, April 6. Fracture for all!
What are those final three tracks?
https://burningshed.com/king-crimson...enna_triple-cd
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
I'm, of course, in.
I wonder if we'll get a live release from last year's N. American tours.
I want to dynamite your mind with love tonight.
I'm hoping the next release is a followup to Radical Action, with the material added to the set since then, given the same treatment. (I know we've already discussed this in another thread.)
https://www.facebook.com/kingcrimson...7105552087519/
They posted level five from philly the other day....first example of what live in 2017 video looks like for them. Have to assume some release will occur of video from the 2017 tour given they filmed every single show.....
That said and back on topic! Fracture! Hooray! Glad to see it and curious how the thrakattack style melding of the soundscapes will sound!
With all this instant release of live material, what is Fripp going to do in 40 years time when he's putting together the box sets?
"Henry Cow always wanted to push itself, so sometimes we would write music that we couldn't actually play – I found that very encouraging." - Lindsay Cooper, 1998
"I have nothing to do with Endless River. Phew! This is not rocket science people, get a grip." - Roger Waters, 2014
"I'm a collector. And I've always just seemed to collect personalities." - David Bowie, 1973
I'm getting ready to write this up after one other title. Expect the usual extensive review in the week leading up to its release. All I will say about it is:
Whoa.
John Kelman
Senior Contributor, All About Jazz since 2004
Freelance writer/photographer
I would have preferred this come out before Chicago, just to keep the evolution/timeline straight, but that said, I'm in. I don't care how much live KC is available, being a rabid fanboy I basically want it all.
Please don't ask questions, just use google.
Never let good music get in the way of making a profit.
I'm only here to reglaze my bathtub.
The Vienna show is also well worth having. For example: Before they played the "lizard suite," "Dawn Song" was a brief (2+ mins), brooding piece that moves perfectly into the newer track, "Suitable Grounds for the Blues." The performances are top notch and this, being a properly mixed live recording, has a different vibe to the rawer soundboards of Toronto and Chicago. Both have merit, and neither approach is better than the other, only different.
So, the third disc, with Heroes, 21CSM and Fracture, along with the three soundscape improv collages, is the carrot...but the Vienna show, in and of itself, would have been worth owning without. It's just all the better for having it! Levin, in particular, I find especially impressive throughout Vienna.
John Kelman
Senior Contributor, All About Jazz since 2004
Freelance writer/photographer
very interesting! would be curious about one day knowing how it is they choose between doing soundboard releases like Toronto and Chicago and properly mixed live recordings like vienna if only for understanding logic. Both are great as i happen to love love love Toronto and Chicago, but just curious on how they chose approach! may never know, and that's OK! we do know that they fully multi track every show, so they do have them at their disposal......imagine could just be down to them thinking the soundboard best represents the performance! in any event, im babbling......v excited to have this in hand next month!
One aspect, and I'm just guessing here, is a simple one: time. The time to prep a soundboard release is considerably less than that of mixing a group where, with three drummers alone, means far more tracks to mix than most groups. So that might be a consideration: planning multi-track releases but, when the group gives an audience a particularly hot date, getting out the soundboard recording more quickly.
Also, there's that element of rawness, which is a stronger thing with unadulterated soundboards vs the cleaner, more pristine (but still meaty & muscular!) mixed shows. Soundboards also reflect the stereo positioning of a show, whereas mixed albums allow more latitude in creating the overall landscape of sound (you'll hear this in Fracture, where Fripp and Jakszyk's guitars are far more separated in the stereo image, as one example).
So, time might well be an element if they want to get something out fairly quickly...Chicago, as an example, coming out less than four months after the show, and Vienna arriving after a considerably longer period of time (even the Japanese Vienna release came almost 10 months after the December 1, 2016 show). And balancing rawer, what you see is what you get soundboard recordings with properly mixed shows means even greater variety in the sonics of a group that, at least to date, is documenting its progress solely through live recordings.
Again, just me thinkin' about it, but I'd wager there may be at least some truth. Of course, only Crimson and inner sanctum folks like Sid Smith and Panegyric's Declan Colgan would know for sure.
John Kelman
Senior Contributor, All About Jazz since 2004
Freelance writer/photographer
At first glance, documenting King Crimson would appear to be fairly straightforward: record everything, document everything, issue a release from each tour or, when relevant. With the current touring band(s) that has resulted in an early, partial set from 2014 (Orpheum), a fan favourite Official Bootleg (Toronto 2015), a complete set list audio & video extravaganza with live/virtual studio listening options (Radical Action, 2016), an EP (Heroes, 2017) & the most recent (& current fan favourite), Official Bootleg (Chicago, 2017). It was always part of the plan that an official release would be taken from the 2016 European tour & the Vienna concerts were duly mixed & produced by Chris Porter, David Singleton & Robert Fripp in early/mid 2017 with a view to being released in Autumn 2017 (as happened in Japan).
But King Crimson evolves, changes, morphs as relentlessly as the Soundscapes which open each concert and, when the early half of the US tour produced the Chicago “snapshot” live tapes & with another leg to the USA tour ending for the latter half of the year, DGM opted to issue Chicago as soon as possible in Europe & the USA, temporarily postponing Vienna for a 2018 release.
Although it was a difficult decision to take, substituting a fully mixed, planned for months, release for an entirely different type of album, [Chicago was an ‘Official Bootleg’ taken directly from soundboard tapes], that decision had one further important ramification. Where the Japanese edition of Vienna had, as a bonus for local fans, live tracks from the 2015 Japanese tour, the additional time gained via the release of Chicago, allowed DGM to research & mix a live recording of “Fracture” – a key performance at a number of 2016 European shows & a piece that had not been performed since 1974 – for inclusion on the Vienna set. The recording featured is from Copenhagen in September 2016. There was also time to consider how the, often over-looked, unique to each evening Soundscape performances which open each concert, could be presented in recorded form. The result is a trio of pieces, drawn from nine separate concerts & edited ‘THRaKaTTaK’ style, featuring Robert, Mel & Tony.
https://www.dgmlive.com/news/King%20...%20In%20Vienna
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