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{{About|the band|the character in the Stephen King novels|Crimson King||King Crimson (disambiguation)}}
{{Infobox musical artist|name=King Crimson|image=King Crimson - Dour Festival 2003 (01).jpg|caption=King Crimson performingnastup iniz 2003{{break}}Left to right: [[Trey Gunn]], [[Adrian Belew]], and [[Robert Fripp]] ([[Pat Mastelotto]] is hidden).|landscape=Yes|background=group_or_bandhttps://en.wikipedia.org/wiki/File:King_Crimson_-_Dour_Festival_2003_(01).jpg|origin=London, England|years_active={{flatlist|
*1968–1974
*1981–1984
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* [[Adrian Belew]]
* Chris Gibson <ref>[http://www.chrisgibsonmusic.com Chris Gibson]</ref>}}}}
'''King Crimson''' je Engleski progresivni rok bend oformljen u Londonu 1968. godine. King Crimson je bio uticajan sedamdesetih godina u sferi progresivnog roka , ali i danas utiče na brojne savremene umetnike. Bend je prošao kroz mnoge sastave tokom svog postojanja . U ovom bendu je sviralo 22 muzičara , a od Oktobra 2017. članovi su Robert Fripp , Jakko Jakszyk , TonzTony Levin , Mel Collins , Pat Mastelotto , Gavin Harrison , Jeremy Stacey i Bill Rieflin . Robert Fripp je jedini član koji je uvek bio član i smatra se vodjom i pokretačem benda. Bend je tokom godina skupio mnogo vernih obožavatelja . Bili su na 87. mestu VH1 liste ''100 Greatest Artists of Hard Rock''.<ref>{{Cite web|url=https://www.youtube.com/playlist?list=PLxm64mApR05CJVCePlmcUFluSZyiAvKZ8|title=VH1 100 Greatest Artists of Hard Rock - YouTube|website=YouTube|language=sr|access-date=2019-05-16}}</ref> Iako su smatrani ključnim progresivnim rok bendom (žanr kog karakterišu duge instrumentalne deonice i kompleksna građa pesama) , oni su često pokušavali da se udalje od tog žanra, ali su takođe uspeli da utiču na nekoliko generacija progresivne i psihodelične rok muzike , a uspeli su i da budu uzor mnogim metal , hardcore i eksperimentalnim muzičarima.
 
Nastavši od neuspešnog psihodeličnog pop tria , Gilesa , Gilesa i Frippa , prvobitni King Crimson je bio ključ formiranja ranog progresivnog roka , imajući veliki uticaj na svoje savremenike kao što su [[:en:Yes_(band)|Yes]] i [[:en:Genesis_(band)|Genesis.]] Njihov prvi album ''In the Court of the Crimson King'' (1969), ostaje njihov najuspešniji i najuticajniji rad , sa svojim elemntima jazz , klasične i eksperimentalne muzike. Njihov uspeh raste nakon što su otvarali koncert grupe [[Ролингстонси|Rolling Stones]].
 
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== HistoryFormiranje ==
 
=== Formation ===
In August 1967, brothers [[Michael Giles]] (drums) and [[Peter Giles (musician)|Peter Giles]] (bass), who had been professional musicians in various jobbing bands since their mid-teens in [[Dorset]], England, advertised for a singing organist to join their new group.<ref>{{cite web|url={{AllMusic|class=artist|id=mn0000657298|tab=biography|pure_url=yes}}|title=Giles, Giles and Fripp|last=Eder|first=Bruce|publisher=AllMusic|accessdate=8 August 2007}}</ref><ref name="Voyage-PT">{{cite web|url=http://www.elephant-talk.com/intervws/fripp-mu.htm|title=Interview with Robert Fripp|year=1984|work=Musician magazine (archived page from elephant-talk.com)|archiveurl=https://web.archive.org/web/20050208100954/http://www.elephant-talk.com/intervws/fripp-mu.htm|archivedate=8 February 2005|accessdate=19 August 2007}}</ref> Fellow Dorset musician [[Robert Fripp]]&nbsp;– a guitarist who did not sing&nbsp;– responded and the trio formed the band [[Giles, Giles and Fripp]]. Based on a format of eccentric pop songs and complex instrumentals, the band recorded several unsuccessful singles and one album, ''[[The Cheerful Insanity of Giles, Giles and Fripp]]''.<ref name="AMGBIO">{{cite web|url={{AllMusic|class=artist|id=mn0000076057|tab=biography|pure_url=yes}}|title=King Crimson Biography|last=Eder|first=Bruce|publisher=AllMusic|accessdate=19 August 2007|}}</ref> The band hovered on the edge of success, with several radio sessions and a television appearance, but never scored the hit that would have been crucial for a commercial breakthrough. The album was no more of a success than the singles and was even disparaged by [[Keith Moon]] of [[the Who]] in a magazine review.<ref name="AMGBIO" />
 
Attempting to expand their sound, the three recruited [[Ian McDonald (musician)|Ian McDonald]] on keyboards, [[Reeds (instrument)|reeds]] and woodwinds. McDonald brought along his then-girlfriend, former [[Fairport Convention]] singer [[Judy Dyble]], whose brief tenure with the group ended when the two split.<ref name="AMGBIO" /><ref name="InTheCourtOfKingCrimson">{{cite book|title=In The Court of King Crimson|last=Smith|first=Sid|publisher=Helter Skelter Publishing|year=2002}} Retrieved on 12 June 2009.</ref> McDonald brought in lyricist, roadie, and art strategist [[Peter Sinfield]], with whom he had been writing songs&nbsp;– a partnership initiated when McDonald had said to Sinfield, regarding his 1968 band Creation, "Peter, I have to tell you that your band is hopeless, but you write some great words. Would you like to get together on a couple of songs?"<ref name="TOGETHER">{{cite web|url=http://www.elephant-talk.com/intervws/sinfield.htm|title=Interview with Peter Sinfield|publisher=Modern Dance (archived page from elephant-talk.com)|archiveurl=https://web.archive.org/web/20050208100954/http://www.elephant-talk.com/intervws/sinfield.htm|archivedate=8 February 2005|accessdate=26 August 2007}}</ref> Fripp, meanwhile, saw [[Clouds (60s rock band)|Clouds]] perform at the [[Marquee Club]] in London which inspired him to incorporate classical melodies and jazz-like improvisation in his song writing.<ref name="CLOUDS">{{cite book|title=The Illustrated History of Rock Music|last=Pascall|first=Jeremy|publisher=Golden Books Publishing|year=1984}} Retrieved on 4 September 2007.</ref> No longer interested in pursuing Peter Giles' more whimsical pop style, Fripp recommended his friend, singer and guitarist [[Greg Lake]], join and replace either Peter Giles or Fripp himself.<ref name="InTheCourtOfKingCrimson" /> Peter Giles later called it one of Fripp's "cute political moves".<ref name="InTheCourtOfKingCrimson" /> But he had become disillusioned with the band's lack of success and departed, leaving Lake to become bassist and singer.<ref name="AMGBIO" />
 
=== 1968–1969: ''In the Court of the Crimson King'' ===
 
The first incarnation of King Crimson was formed in London on 30 November 1968 and first rehearsed on 13 January 1969.<ref name="AMGBIO" /><ref name="epitaph">{{cite AV media notes|title=Epitaph|titlelink=Epitaph (King Crimson album)|others=King Crimson|year=1997|chapter=|type=CD|publisher=Discipline Global Mobile|id=|location=}}</ref> The band's name was coined by Sinfield, though it is not meant to be a synonym for [[Beelzebub]], prince of demons.<ref>{{cite web|url=https://www.youtube.com/watch?v=-JcisCoqUK4|title=Song to Soul: Interview on Early King Crimson with Peter Sinfield and Ian McDonald 2011 (clip 3)|date=|publisher=[[YouTube]]|accessdate=2016-08-18}}</ref> (According to Fripp, Beelzebub would be an [[English language|anglicised]] form of the Arabic phrase "B'il Sabab", meaning "the man with an aim".<ref name="AIM">{{cite web|url=http://www.songsouponsea.com/Promenade/Metaphysical.html|title=Robert Fripp on the King Crimson name|publisher=Song Soup on Sea – Peter Sinfield's website (songsouponsea.com)|accessdate=29 August 2007}}</ref>) Historically and etymologically, a "crimson king" was any monarch during whose reign there was civil unrest and copious bloodshed; the album debuted at the height of worldwide opposition to [[Vietnam War|the military involvement of the United States in Southeast Asia]]. At this point, McDonald was the group's main composer, albeit with contributions from Lake and Fripp, while Sinfield wrote the lyrics, designed and operated the band's stage lighting, being credited with "sounds and visions." McDonald suggested the band purchase a [[Mellotron]], and they began using it to create an orchestral rock sound, inspired by [[the Moody Blues]].<ref>{{cite web|url=https://www.youtube.com/watch?v=vN8PXIPmTAY|title=Ian McDonald Conversation on Mellotrons: Pt. 1 of 8|accessdate=17 June 2010}}</ref> Sinfield described Crimson thus: "If it sounded at all popular, it was out. So it had to be complicated, it had to be more expansive chords, it had to have strange influences. If it sounded, like, too simple, we'd make it more complicated, we'd play it in 7/8 or 5/8, just to show off".<ref name="BBC Prog Rock">{{cite video|title="Prog Rock Britannia: An Observation in Three Movements"|url=https://www.bbc.co.uk/programmes/b00g8tfv|accessdate=13 May 2012|publisher=BBC|date=2 January 2009}}</ref>
 
{{listen|filename=King Crimson - The Court of the Crimson King.ogg|title="The Court of the Crimson King" (1969)|description=37-second sample from King Crimson's "The Court of the Crimson King", demonstrating the sound of the first incarnation of the band, with its classically influenced style and use of the Mellotron instrument.}}
King Crimson made their breakthrough live debut on 5 July 1969<ref name="epitaph" /> by playing [[Stones in the Park|the Rolling Stones free concert]] at [[Hyde Park, London|Hyde Park]], London in July 1969 before an estimated 500,000 people.<ref name="AMGBIO" /> The debut album, ''[[In the Court of the Crimson King]]'', was released in October 1969 on [[Island Records]]. Fripp would later describe it as having been "an instant smash" and "New York's [[LSD|acid]] album of 1970" (notwithstanding Fripp and Giles' assertion that the band never used psychedelic drugs).<ref name="epitaph" /> The album received public compliments from [[Pete Townshend]], [[the Who]]'s guitarist, who called the album "an uncanny masterpiece."<ref name="DGMBIO">{{cite web|url=http://www.dgmlive.com/kc/index.htm?bio=true|title=King Crimson biography|publisher=Discipline Global Mobile (dgmlive.com)|archiveurl=https://web.archive.org/web/20070927222641/http://www.dgmlive.com/kc/index.htm?bio=true|archivedate=27 September 2007|deadurl=yes|accessdate=29 August 2007|df=dmy-all}}</ref> The album's sound, including its opening track "[[21st Century Schizoid Man]]", was described as setting the precedent for [[alternative rock]] and [[grunge]], whilst the softer tracks are described as having an "ethereal" and "almost sacred" feel.<ref name="AMGCOURT">{{cite web|url={{AllMusic|class=album|id=mw0000252242|pure_url=yes}}|title=In the Court of the Crimson King|last=Eder|first=Bruce|publisher=AllMusic|accessdate=29 August 2007}}</ref> In contrast to the blues-based hard rock of the contemporary British and American scenes, King Crimson presented a more Europeanised approach that blended antiquity and modernity. The band's music drew on a wide range of influences provided by all five group members. These elements included romantic- and modernist-era classical music, the psychedelic rock spearheaded by [[Jimi Hendrix]], [[Folk music|folk]], [[jazz]], military music (partially inspired by McDonald's stint as an army musician), ambient improvisation, [[Victoriana]] and British pop.
 
After playing shows across England, the band toured the US with various pop and rock acts. Their first show was at [[Goddard College]] in [[Plainfield, Vermont]]. While their original sound astounded contemporary audiences and critics,<ref name="AMGBIO" /> creative tensions were already developing within the band. Giles and McDonald, still striving to cope with King Crimson's rapid success and the realities of touring life, became uneasy with the band's direction. Although he was neither the dominant composer in the band nor the frontman, Fripp was very much the band's driving force and spokesman, leading King Crimson into progressively darker and more intense musical areas. McDonald and Giles, now favouring a lighter and more romantic style of music, became increasingly uncomfortable with their position and resigned from the band during the US tour. To salvage what he saw as the most important elements of King Crimson, Fripp offered to resign himself, but McDonald and Giles declared that the band was "more (him) than them" and that they should therefore be the ones to leave.<ref name="InTheCourtOfKingCrimson" /> The line-up played their last show at the [[Fillmore West]] in San Francisco on 16 December 1969.<ref name="epitaph" /> Live recordings of the tour were released in 1997 on ''[[Epitaph (King Crimson album)|Epitaph]]''.
 
=== 1970–1971: the "interregnum" – ''In the Wake of Poseidon'' and ''Lizard'' ===
 
After their first US tour, King Crimson was in a state of flux with various line-up changes, thwarted tour plans, and difficulties in finding a satisfactory musical direction. This period has subsequently been referred to as the "[[interregnum]]" – a nickname implying that the "King" (King Crimson) was not properly in place during this time.<ref name="InTheCourtOfKingCrimson" /> Fripp became the only remaining musician in the band, with Sinfield expanding his creative role to playing synthesizers.
 
Fripp and Sinfield recorded the second King Crimson album, ''[[In the Wake of Poseidon]]'', in 1970 with the Giles brothers hired back as the session rhythm section, and with jazz pianist [[Keith Tippett]] and Circus saxophonist [[Mel Collins]] as guest musicians. The group considered hiring [[Elton John]] to be the singer, but decided against the idea.<ref name="ETFAQ">{{cite web|url=http://www.elephant-talk.com/faq/et-faq.txt|title=King Crimson FAQ|publisher=Elephant Talk (archived page from elephant-talk.com)|archiveurl=https://web.archive.org/web/20050828134638/http://www.elephant-talk.com/faq/et-faq.txt|archivedate=28 August 2005|accessdate=29 August 2007}}</ref> Lake then agreed to sing on the album in exchange for receiving King Crimson's [[Public address system|PA equipment]],<ref name="InTheCourtOfKingCrimson" /> except on "Cadence and Cascade", which is sung by Fripp's friend [[Gordon Haskell]]. Though Tippett was offered band membership, he preferred to remain as a studio collaborator, performing with the band for a single gig.<ref name="InTheCourtOfKingCrimson" /> Upon its release in May 1970, ''In the Wake of Poseidon'' reached No. 4 in the UK and No. 31 in the US. It received some criticism from those who thought it sounded too similar to their first album.<ref name="AMGBIO" /> With no musicians to perform material from their new album, Fripp and Sinfield persuaded Haskell to join as singer and bassist and recruited [[Andrew McCulloch (drummer)|Andy McCulloch]] as drummer, retaining Collins as saxophonist, flautist and occasional keyboard player.<ref name="InTheCourtOfKingCrimson" />
 
During the writing sessions for the third album, ''[[Lizard (album)|Lizard]]'',<ref name="AMGBIO" /> Haskell and McCulloch had no say in the direction of the material, since Fripp and Sinfield wrote the album themselves, bringing in Tippett, [[Mark Charig]] on [[cornet]], [[Nick Evans (trombonist)|Nick Evans]] on trombone, and Robin Miller on [[oboe]] and [[cor anglais]] as additional musicians. Haskell sang and played bass. [[Jon Anderson]] of [[Yes (band)|Yes]] was also brought in to sing the first part of the album's title track, "Prince Rupert Awakes",<ref name="AMGBIO" /> which Fripp and Sinfield considered to be outside Haskell's range and style.<ref name="InTheCourtOfKingCrimson" /> ''Lizard'' featured stronger avant-garde jazz and chamber-classical influences than previous albums, as well as Sinfield's upfront experiments with processing and distorting sound through the [[EMS VCS 3]] synthesiser. It also featured complex lyrics from Sinfield, including a coded song about the break-up of [[the Beatles]], with almost the entire second side taken up by a predominantly instrumental chamber suite describing a medieval battle and its outcome. Released in December 1970, ''Lizard'' reached No. 29 in the UK and No. 113 in the US. Described retrospectively as an "acquired taste",<ref name="AMGBIO" /> ''Lizard'' was certainly not to the taste of the more rhythm-and-blues-oriented Haskell and McCulloch, both of whom found the music difficult to relate to. As a result, Haskell quit the band acrimoniously after refusing to sing live with distortion and electronic effects. McCulloch also departed,<ref name="AMGBIO" /><ref name="InTheCourtOfKingCrimson" /> leaving Fripp and Sinfield to recruit new members once more.
 
=== 1971–1972: the ''Islands'' band ===
 
After a search for new musicians, Fripp and Sinfield secured a returning Collins and [[Ian Wallace (drummer)|Ian Wallace]] on drums. Auditions for a singer included those from [[Bryan Ferry]]<ref>{{cite web|url=http://ultimateclassicrock.com/king-crimson-in-the-wake-of-poseidon/|title=Revisiting King Crimson's Second LP, 'In the Wake of Poseidon'|website=Ultimate Classic Rock|accessdate=19 May 2018}}</ref> and John Gaydon, the band's manager. The position went to [[Boz Burrell|Raymond "Boz" Burrell]].<ref name="AMGBIO" /> Bassist [[John Wetton]] was invited to join, but declined (at the time) in order to play with [[Family (band)|Family]].<ref name="SBHist">{{cite web|url=http://members.aol.com/songforme/hist.htm|title=Strange Band – Family history|date=|publisher=Members.aol.com|accessdate=16 July 2011}}</ref> [[Rick Kemp]] also declined an offer to join,<ref name="AMGBIO" /><ref name="InTheCourtOfKingCrimson" /> leaving Fripp and Wallace teaching Burrell to play bass rather than continue auditions. Though he had not played bass before, Burrell had played enough rhythm guitar to assist him in learning the instrument.<ref name="AMGBIO" /><ref name="InTheCourtOfKingCrimson" /> With the line-up complete, King Crimson toured in 1971 for the first time since 1969. The concerts were well received, but the musical and lifestyle differences of Collins, Wallace, and Burrell began to alienate the drug-free Fripp, who began to withdraw socially from his bandmates, creating further tension.<ref name="InTheCourtOfKingCrimson" />
 
In 1971, the new King Crimson formation recorded ''[[Islands (King Crimson album)|Islands]]''. Loosely influenced by [[Miles Davis]]'s orchestral collaborations with [[Gil Evans]] and [[Homer]]'s ''[[Odyssey]]'', the album also showed signs of a split in styles between Sinfield (who favoured the softer and more textural jazz-folk approach and wanted the band to move in a Miles Davis direction) and Fripp (who was drawn more towards the harsher instrumental style exemplified by the instrumental "Sailor's Tale", with its dramatic Mellotron and banjo-inspired guitar technique). ''Islands'' also featured the band's one-and-only experiment with a string ensemble on "Prelude: Song of the Gulls" and the raunchy rhythm-and-blues-inspired "Ladies of the Road". A hint of trouble to come came when one member of the band allegedly described the more delicate and meditative parts of ''Islands'' as "airy-fairy shit".<ref name="InTheCourtOfKingCrimson" /> Released in December 1971, ''Islands'' charted at No. 30 in the UK and No. 76 in the US. Following a period of touring ''Islands'', Fripp asked Sinfield to leave the band,<ref name="AMGBIO" /> citing musical differences and a loss of faith in his partner's ideas.<ref name="InTheCourtOfKingCrimson" /> The remaining band broke up acrimoniously in rehearsals shortly afterward, owing to Fripp's refusal to incorporate other members' compositions into the band's repertoire. He later cited this as "quality control", with the idea that King Crimson would perform the "right kind" of music.<ref name="InTheCourtOfKingCrimson" />
 
King Crimson reformed to fulfil touring commitments in 1972, with the intention of disbanding afterwards.<ref name="AMGBIO" /> Recordings from various North American dates between January and February 1972 were released as ''[[Earthbound (King Crimson album)|Earthbound]]'' in June 1972,<ref name="AMGBIO" /> noted and criticised for its sub-par sound quality and playing style that occasionally veered towards [[funk]], with [[scat singing]] on the improvised pieces.<ref name="BBCMUSIC">{{cite web|url=https://www.bbc.co.uk/music/release/n3qv/|title=Earthbound, USA & Thrak|publisher=[[BBC Music]] (bbc.co.uk)|accessdate=29 August 2007}}</ref><ref name="EBOUND">{{cite web|url={{AllMusic|class=album|id=mw0000224180|pure_url=yes}}|title=Earthbound|last=Planer|first=Lindsay|publisher=AllMusic|accessdate=29 August 2007}}</ref> By this time, a definite musical rift between Fripp and the rest of the band existed, since Wallace, Burrell and Collins favoured a more rhythm-and-blues style.<ref name="InTheCourtOfKingCrimson" /> Though personal relations improved during the 1972 tour (to the point where most of the band wished to continue), Fripp opted to part company with the existing band and to restructure King Crimson with new members, since he felt the current members wouldn't be able to play the new material he had in mind.<ref name="InTheCourtOfKingCrimson" />
 
=== 1972–1975: the "European improvisers" – ''Larks' Tongues in Aspic'', ''Starless and Bible Black'', ''Red'', and hiatus ===
{{Quote box|style=padding:10px;|quote="It was going to be an interesting ride when ... I wasn't given a setlist when I joined the band, more a reading list. [[Ouspensky]], [[J.&nbsp;G. Bennett]], [[George Gurdjieff|Gurdjieff]] and [[Carlos Castaneda|Castaneda]] were all hot. [[Wicca]], personality changes, low-level magic, pyromancy – all this from the magus in the court of the Crimson King. This was going to be more than three chords and a pint of Guinness."|source=—Bill Bruford.<ref name=brufordautobiography/>|width=28%|align=left}}
The third major line-up of King Crimson was radically different from the previous two. Fripp's four new recruits were [[Free improvisation|free-improvising]] percussionist [[Jamie Muir]],<ref name="AMGBIO" /> drummer [[Bill Bruford]],<ref name="AMGBIO" /> who left [[Yes (band)|Yes]] at a new commercial peak in their career in favour of the "darker" King Crimson,<ref name="YESBIO">{{cite web|url={{AllMusic|class=artist|id=mn0000685647|tab=biography|pure_url=yes}}|title=Yes|last=Eder|first=Bruce|publisher=AllMusic|accessdate=29 August 2007}}</ref> bassist and singer [[John Wetton]], and violinist and keyboardist [[David Cross (musician)|David Cross]] whom Fripp had encountered through work with music colleagues.<ref name="AMGBIO" /> Most of the musical compositions were collaborations between Fripp and Wetton, who each composed segments independently and fitted together those which they found compatible.<ref name="BoffomuInt">{{cite web|url=https://www.youtube.com/watch?v=-hcovFGVW44|title=John Wetton (King Crimson, U.K., Asia): The Complete Boffomundo Interview|last1=Curtiss|first1=Ron|last2=Weiner|first2=Aaron|date=June 3, 2016|website=[[YouTube]]|accessdate=3 March 2019}} Event occurs at 4:34-13:48.</ref> With Sinfield gone, the band recruited Wetton's friend [[Richard Palmer-James]] as their new lyricist.<ref name="AMGBIO" /> Unlike Sinfield, Palmer-James played no part in artistic, visual, or sonic direction; his sole contributions were his lyrics, sent to Wetton by post from his home in Germany. Following a period of rehearsals, King Crimson resumed touring on 13 October 1972 at the Zoom Club in [[Frankfurt]], with the band's penchant for improvisation and Muir's startling stage presence gaining them renewed press attention.
 
{{listen|filename=King Crimson - Larks' Tongues in Aspic, Pt. 1.ogg|title="Larks' Tongues in Aspic, Part One" (1973)|description=An excerpt of "Larks' Tongues in Aspic, Part One", demonstrating the heavy metal influences, complex structure of the music, improvisation, and the percussion of Jamie Muir.}}
In January and February 1973, King Crimson recorded ''[[Larks' Tongues in Aspic]]'' in London which was released that March.<ref name="AMGBIO" /><ref name="LARKS">{{cite web|url={{AllMusic|class=album|id=mw0000194480|pure_url=yes}}|title=Larks' Tongues in Aspic|last=Eder|first=Bruce|publisher=AllMusic|accessdate=29 August 2007}}</ref> The band's new sound was exemplified by the album's [[Larks' Tongues in Aspic (instrumental)|two-part title track]] – a significant change from what King Crimson had done before,<ref name="AMGBIO" /> emphasising instrumentals and drawing influences from classical, free, and heavy metal music.<ref name="WARR">{{cite web|url=http://www.warr.org/crimson.html|title=King Crimson|publisher=Wilson and Allroy's Record Reviews (warr.org)|accessdate=29 August 2007}}</ref> The record displayed Muir's free approach to percussion, which included using a drum kit, bicycle parts, toys, a [[bullroarer]], hitting a gong with chains, and a joke laughing bag. The album reached No. 20 in the UK and No. 61 in the US. After a period of further touring, Muir departed in 1973, quitting the music industry altogether. Though this was initially thought to have been motivated by an onstage injury caused by a gong landing on his foot,<ref name="MARQ">{{cite web|url=http://www.themarqueeclub.net/king-crimson|title=King Crimson|publisher=The Marquee Club (themarqueeclub.net)|archiveurl=https://web.archive.org/web/20070928040857/http://www.themarqueeclub.net/king-crimson|archivedate=28 September 2007|deadurl=yes|accessdate=29 August 2007|df=dmy-all}}</ref> it was later revealed that Muir had gone through a personal spiritual crisis, and had withdrawn to become a monk.<ref name="InTheCourtOfKingCrimson" />
 
With Muir gone, the remaining members reconvened in January 1974 to produce ''[[Starless and Bible Black]]'', released in March 1974<ref name="AMGBIO" /><ref name="AMGSABB">{{cite web|url={{AllMusic|class=album|id=mw0000190627|pure_url=yes}}|title=Starless and Bible Black|last=Eder|first=Bruce|publisher=AllMusic|accessdate=29 August 2007}}</ref> and earned them a positive ''[[Rolling Stone]]'' review.<ref name="RSSABB">{{cite web|url=https://www.rollingstone.com/artists/kingcrimson/albums/album/174583/review/5946322/starless_and_bible_black|title=Starless and Bible Black|work=Rolling Stone|accessdate=29 August 2007}}</ref> Though most of the album is formed of live performances from the band's late 1973 tour,<ref name="WARR" /> the recordings were painstakingly edited to sound like a studio record, with "The Great Deceiver" and "Lament" the only tracks recorded in the studio.<ref name="BOOK">{{cite book|url=http://www.progressiveears.com/frippbook/contents.htm|title=Robert Fripp – From Crimson King to Crafty Master|last=Tamm|first=Eric|publisher=Progressive Ears (progressiveears.com)|archiveurl=https://web.archive.org/web/20150117003357/http://www.progressiveears.com/frippbook/contents.htm|archivedate=17 January 2015|deadurl=yes|df=dmy-all}}</ref> The album reached No. 28 in the UK and No. 64 in the US. Following the album's release, the band began to divide once more, this time over performance. Musically, Fripp found himself positioned between Bruford and Wetton, who played with such force and increasing volume that Fripp once compared them to "a flying brick wall",<ref name="InTheCourtOfKingCrimson" /> and Cross, whose amplified acoustic violin was increasingly being drowned out by the rhythm section, leading him to concentrate more on keyboards. An increasingly frustrated Cross began to withdraw musically and personally, with the result that he was voted out of the group following the band's 1974 tour of Europe and America.<ref name="InTheCourtOfKingCrimson" />
 
[[Датотека:Robert_Fripp_2.jpg|десно|мини|Fripp performing in 1974]]
In July 1974 Fripp, Bruford, and Wetton began recording ''[[Red (King Crimson album)|Red]]''.<ref name="AMGBIO" /> Before recording began, Fripp, now increasingly disillusioned with the music business, turned his attention to the works of Russian mystic [[George Gurdjieff]]<ref name="BOOK" /> and experienced a spiritual crisis-cum-awakening; he later described it as if "the top of my head blew off".<ref name="InTheCourtOfKingCrimson" /> Though most of the album was already written, Fripp retreated into himself in the studio and "withdrew his opinion", leaving Bruford and Wetton to direct most of the recording sessions. The album contains studio recorded material with one live track, "Providence", recorded on 30 June 1974 with Cross in the group. Several musicians, including some from past King Crimson line-ups, contribute to the album. Released in October 1974, ''Red'' went to No. 45 in the UK and No. 66 in the US. [[AllMusic]] called it "an impressive achievement" for a group about to disband, with "intensely dynamic" musical chemistry between the band members.<ref name="RED">{{cite web|url={{AllMusic|class=album|id=mw0000650362|pure_url=yes}}|title=Red|last=Eder|first=Bruce|publisher=AllMusic|accessdate=29 August 2007}}</ref>
 
Two months before the release of ''Red'', King Crimson's future looked bright (with talks regarding founder member Ian McDonald rejoining the group).<ref name="BoffomuInt" /> However, Fripp wished not to tour as he felt increasingly disenchanted by the group and the music industry. He also felt the world was going to end in 1981 and that he had to prepare for it.<ref name="BOOK" /><ref name="BoffomuInt" /> Despite a band meeting while touring the US in which Fripp expressed a desire to end the band,<ref>{{cite web|url=https://www.dgmlive.com/tour-dates/362|title=23 Jun 1974 Aquinas College, Grand Rapids|website=DGM Live|access-date=29 August 2018}}</ref> the group formally disbanded on 25 September 1974 when Fripp announced that King Crimson had "ceased to exist" and was "completely over for ever and ever".<ref name="DGMBIO" /><ref name="NME1974">{{cite news|url=|title=Article|last=|first=|date=28 September 1974|work=New Musical Express|location=UK|pages=}}</ref><ref name="AMGBIO" /> It was later revealed that Fripp had attempted to interest his managers in a King Crimson without him, but the idea was turned down.<ref name="InTheCourtOfKingCrimson" /><ref name="BoffomuInt" /> Following the band's disbanding, the live album ''[[USA (album)|USA]]'' was released in May 1975, formed of recordings from their 1974 North American tour. It received some positive reviews,<ref name="BBCMUSIC" /> including "a must" for fans of the band and "insanity you're better off having".<ref name="ActonGazette">{{cite news|url=|title=Article|date=17 July 1975|work=|publisher=Acton Gazette|pages=}}</ref><ref name="Cashbox">{{cite news|url=|title=Article|last=|first=|date=10 May 1975|work==[[Cash Box magazine|Cashbox]]}}</ref> Issues with some of the tapes rendered some of Cross' violin inaudible, so [[Eddie Jobson]] was hired to perform overdubs of violin and keyboards in a studio; further edits were also made to allow the music to fit on a single LP.<ref name="FAF">{{cite web|url=http://www.artist-shop.com/discipln/|title=King Crimson family & friends|publisher=Discipline Global Mobile (artist-shop.com)|accessdate=29 August 2007}}</ref> Between 1975 and 1980, King Crimson were inactive.
 
=== 1981–1984: the "rock gamelan" – ''Discipline'', ''Beat'', ''Three of a Perfect Pair'', and second hiatus ===
[[Датотека:"Possible_Productions_knotwork"_by_Steve_Ball.png|веза=Датотека:%22Possible_Productions_knotwork%22_by_Steve_Ball.png|лево|мини|Later versions of ''Discipline'' featured this knotwork design by Steve Ball.]]
In 1981, having spent seven years in spiritual pursuits and smaller projects (from playing guitar for [[David Bowie]], [[Peter Gabriel]] and [[Daryl Hall]] to pursuing an experimental solo career to leading the instrumental beat band The League of Gentlemen) Fripp decided to form a new "first division" rock group but had no intentions of reforming King Crimson.<ref name="BOOK" /> Having recruited Bill Bruford as drummer,<ref name="BOOK" /> Fripp asked singer and guitarist [[Adrian Belew]],<ref name="AMGADRIAN">{{cite web|url={{AllMusic|class=artist|id=mn0000498577|tab=biography|pure_url=yes}}|title=Adrian Belew|last=Prato|first=Greg|publisher=AllMusic|accessdate=29 August 2007}}</ref> the first time Fripp was in a band with another guitarist and therefore indicative of Fripp's desire to create a sound unlike any of his previous work.<ref name="BOOK" /> After touring with [[Talking Heads]], Belew agreed to join and also become the band's lyricist. Bruford's suggestion of [[Jeff Berlin]] as bassist was rejected as his playing was "too busy",<ref name="InTheCourtOfKingCrimson" /> so auditions were held in New York: on the third day, Fripp left after roughly three auditions, only to return several hours later with [[Tony Levin]] (who got the job after playing a single chorus of "Red").<ref name="brufordautobiography">Bruford, Bill "Bill Bruford – the Autobiography", Jawbone Press, 2009</ref> Fripp later confessed that, had he initially known that Levin was available and interested, he would have selected him as first-choice bass player without holding auditions. Fripp named the new quartet Discipline, and the band went to England to rehearse and write new material. They made their live debut at Moles Club in [[Bath, Somerset]] on 30 April 1981, and completed a UK tour<ref name="TheTimes">{{cite news|url=|title=Discipline. Her Majesty's|last=|first=|date=11 May 1981|work=The Times|location=UK|pages=|language=}}</ref> supported by [[the Lounge Lizards]].<ref name="SoundsMag">{{cite news|url=|title=Fripp for Discipline|last=|first=|date=25 April 1981|work=|publisher=[[Sounds (magazine)|Sounds Magazine]]|pages=|language=}}</ref> By October 1981, the band had opted to change their name to King Crimson.<ref name="AMGBIO" />
 
{{listen|filename=King Crimson - The Sheltering Sky.ogg|title="The Sheltering Sky" (1981)|description=An excerpt of "The Sheltering Sky" (1981), showing [[gamelan]] influences, Bruford's use of an African [[slit drum]], and Fripp and Belew's use of a guitar synthesiser, a staple of much of their 1980s albums.}}
 
In 1981, King Crimson recorded ''[[Discipline (King Crimson album)|Discipline]]'' with producer [[Rhett Davies]]. The album displayed a very different version of the band, with newer influences including [[post-punk]], [[New wave music|new wave]], latterday funk and go-go and African-styled polyrhythms.<ref name="AMGDISCIPLINE">{{cite web|url={{AllMusic|class=album|id=mw0000196148|pure_url=yes}}|title=Discipline|last=Prato|first=Greg|publisher=AllMusic|accessdate=29 August 2007}}</ref>{{not in source|date=October 2018}} With a sound described in ''[[Rolling Stone Album Guide#Fourth edition|The New Rolling Stone Album Guide]]'' as having a "jaw-dropping technique" of "knottily rhythmic, harmonically demanding workouts",<ref name="RSBIO">{{cite book|url=https://www.rollingstone.com/music/artists/KingCrimson/|title=The New Rolling Stone Album Guide|last=Considine|first=J.D.|publisher=Random House|year=2004|isbn=0-7432-0169-8|editor=Christian Hoard and Nathan Brackett|edition=fourth|location=New York|pages=|chapter=King Crimson|accessdate=24 September 2007}}</ref> Fripp intended to create the sound of a "rock [[gamelan]]", with an interlocking rhythmic quality to the paired guitars that he found similar to Indonesian gamelan ensembles.<ref name="BOOK" /> Fripp concentrated on playing complex picked arpeggios, while Belew provided an arsenal of guitar sounds including animal noises, industrial textures, and guitar screams with a range of electronic [[effects pedals]]. In addition to bass guitar, Levin used the [[Chapman Stick]], a ten-string polyphonic two-handed [[tapping]] guitar instrument that has a bass and treble range and which he played in an "utterly original style".<ref name="NYTimes">{{cite news|url=|title=Why Robert Fripp Resurrected King Crimson|last=|first=|date=November 1981|work=The New York Times|pages=|language=}}</ref> Bruford experimented with cymbal-less acoustic kits and a [[Simmons SDS-V|Simmons SDS-V electronic drum kit]]. The band's songs were shorter in comparison to previous King Crimson albums, and very much shaped by Belew's pop sensibilities and quirky approach to writing lyrics. Though the band's previous taste for improvisation was now tightly reined in, one instrumental ("The Sheltering Sky") emerged from group rehearsals; while the noisy, half-spoken/half-shouted "Indiscipline" was a partially-written, part-improvised piece created in order to give Bruford a chance to escape from the strict rhythmic demands of the rest of the album and to play against the beat in any way that he could.<ref name="InTheCourtOfKingCrimson" /> Released in September 1981, ''Discipline'' reached No. 41 in the UK and No. 45 in the US.
 
In June 1982, King Crimson followed ''Discipline'' with ''[[Beat (King Crimson album)|Beat]]'' (the first King Crimson album recorded with the same band line-up as the album preceding it).<ref name="MM82">{{cite news|url=|title=Article|last=|first=|date=19 June 1982|work=|publisher=[[Melody Maker]]|pages=|language=}}</ref> None of the members of the group produced the record; Davies undertook production duties himself.<ref name="MM82" /> The album had a loosely linked theme of the [[Beat Generation]] and its writings,<ref name="NME82">{{cite news|url=|title=Article|last=|first=|date=3 July 1982|work=New Musical Express|location=UK|pages=|language=}}</ref> reflected in song titles such as "Neal and Jack and Me" (inspired by [[Neal Cassady]] and [[Jack Kerouac]]), "The Howler" (inspired by Allan Ginsberg's "Howl") and "Sartori in Tangier" (inspired by [[Paul Bowles]]). Fripp asked Belew to read Kerouac's novel ''[[On the Road]]''<ref name="ETFAQ" /> for inspiration, and the album contained themes of travel, disorientation and loneliness. While the album was noticeably poppier than ''Discipline'', it featured the harsh, atonal and improvised "Requiem".
 
Recording ''Beat'' was faced with tension with Belew suffering high stress levels over his duties as front man, lead singer, and principal songwriter. On one occasion, he clashed with Fripp and ordered him out of the studio.<ref name="InTheCourtOfKingCrimson" /><ref name="brufordautobiography" /> After differences were resolved, and while ''Beat'' reached No. 39 in the UK and No. 52 in the US, King Crimson resumed touring. "Heartbeat" was released as a single which peaked at No. 57 on the ''Billboard'' [[Mainstream Rock (chart)|Mainstream Rock]] chart. Around this time the band released the VHS-only '"The Noise: Live in Frejus" (DGMVC2), a record of a show played at the Arena, [[Frejus]], France on 27 August 1982. (This video is now on DVD as part of the compilation [[Neal and Jack and Me]].)
 
King Crimson's next album, ''[[Three of a Perfect Pair]]'', was recorded in 1983 and released in March 1984. Having encountered difficulty in both writing and determining a direction for the album, the band chose to record and sequence it as a "left side" — four of the band's poppier songs plus an instrumental — and a "right side" (experimental work including extended and atonal improvisations in the tradition of the mid-1970s band, plus as the third part of "Larks' Tongues in Aspic"). ''Three of a Perfect Pair'' peaked at No. 30 in the UK and No. 58 in the US, with "[[Three of a Perfect Pair (song)|Three of a Perfect Pair]]" and "[[Sleepless (King Crimson song)|Sleepless]]" being released as singles. The 2001 remaster of the album included "the other side", a collection of remixes and improvisation out-takes plus Levin's tongue-in-cheek vocal piece, "The King Crimson Barbershop". The last concert of the ''Three of a Perfect Pair'' tour, at the [[Spectrum (Montreal)|Spectrum]] in Montreal, Canada on 11 July 1984, was recorded and released in 1998 as ''[[Absent Lovers: Live in Montreal]]''.
 
{{Quote box|style=padding:10px;|quote="Robert broke up the group, again, for the umpteenth time, dwelling at length, I suppose on our lack of imagination, ability, direction and a thousand other things we were doubtless missing. I suppose this only because I remember not listening to this litany of failures. Might as well quit while you're ahead, I thought."|source=—Bill Bruford on the band's 1984 disbanding.<ref name=brufordautobiography/>|width=28%|align=left}}
Following the 1984 tour, Fripp dissolved King Crimson for the second time, having become dissatisfied with its working methods. Bruford and Belew expressed some frustration over this; Belew recalled the first he had heard of the split was when he read about it in a report in ''Musician'' magazine. Despite these circumstances, the musicians remained on fairly amicable terms. Belew would later refer to the band "taking a break" that ultimately lasted for ten years.
 
=== 1994–1999: the Double Trio – ''Vroooom'', ''THRAK'', and the ProjeKcts ===
In the early 1990s, Belew met with Fripp in England with an interest in a reformed King Crimson. Two years later, in 1992, Fripp established the [[Discipline Global Mobile]] (DGM) record label with producer [[David Singleton]]: this would subsequently be the main home for Fripp's work, with main album releases distributed to larger record companies, affording Fripp and his associates greater freedom and more control over their work.
 
After a tour with [[David Sylvian]] in 1993 (who declined an offer to join Crimson), Fripp began to assemble a new version of the band, an union between the band's previous incarnation and the Sylvian & Fripp group: he was joined with Belew, Levin, Bruford, Chapman Stick player [[Trey Gunn]] (a [[Guitar Craft]] alumnus), and drummer [[Pat Mastelotto]] (who replaced the first choice, [[Jerry Marotta]]). Fripp explained the six-member formation was to be a "Double Trio" with two guitarists, two bassists, and two drummers, to explore a different style of music. Bruford later said he lobbied his own way into the band, believing that King Crimson was very much "his gig", and that Fripp had come up with the philosophical explanation later. One of the conditions Fripp had imposed on Bruford regarding his return was to give up all creative control to Fripp.<ref name="brufordautobiography" />
 
Following rehearsals in [[Woodstock, New York]], the group released the [[extended play]] ''[[Vrooom]]'' in October 1994. This revealed the new King Crimson sound, which featured elements of the interlocking guitars on ''Discipline'' and the heavy rock feel of ''Red'',<ref name="THRAK">{{cite web|url={{AllMusic|class=album|id=mw0000125655|pure_url=yes}}|title=Thrak|last=Gioffre|first=Daniel|publisher=AllMusic|accessdate=29 August 2007}}</ref> but also involved a greater use of ambient electronic sound and ideas from industrial music. In contrast, many of the actual songs – mostly written or finalised by Belew – displayed stronger elements of 1960s pop than before – in particular, a [[The Beatles|Beatles]] influence (although Bruford would also refer to the band as sounding like "a dissonant [[The Shadows (band)|Shadows]] on steroids"<ref name="brufordautobiography" />). As with previous line-ups, new technology was used including [[MIDI]] and the [[Warr Guitar|Warr tap guitar]] with which Gunn replaced the Stick. King Crimson toured the album from 28 September 1994 in [[Buenos Aires]], [[Argentina]]; following concerts were released on the double live ''[[B'Boom: Live in Argentina]]'' in 1995.
 
{{Quote box|style=padding:10px;|quote="The meaning of ''THRAK'' ... the first one is: a sudden and precise impact moving from direction and commitment in service of an aim ... The second definition is: 117 guitars almost hitting the same chord simultaneously. So, the album ''THRAK'', what is it? 56 minutes and 37 seconds of songs and music about love, dying, redemption and mature guys who get erections."|source=—Robert Fripp's press release for ''THRAK''<ref>[http://www.polarlava.com/thrak/ Definition retrieved from reproduced Fripp press release on Thrak Football Enterprises homepage], retrieved 14 June 2009</ref>|width=28%|align=right}}
In October and December 1994, King Crimson recorded their eleventh studio album, ''[[Thrak]]''. Formed of revised versions of most of the tracks on ''Vrooom'', plus new tracks, the album was described by ''Q'' magazine as having "jazz-scented rock structures, characterised by noisy, angular, exquisite guitar interplay" and an "athletic, ever-inventive rhythm section,"<ref name="ThrakQmag">{{cite news|url=|title=Article|last=|first=|date=May 1995|work=|publisher=[[Q (magazine)|Q]]|pages=|language=}}</ref> while being in tune with the sound of [[alternative rock]] of the mid-1990s.<ref name="vox">{{cite news|url=|title=THRAK|last=|first=|date=May 1995|work=|publisher=[[Vox (magazine)|Vox]]|pages=|language=}}</ref> Examples of the band's efforts to integrate their multiple elements could be heard on the complex post-prog songs "Dinosaur" and "[[Sex Sleep Eat Drink Dream]]" as well as the more straightforward "One Time" and the funk-pop inspired "People".
 
King Crimson resumed touring in 1995 and 1996; dates from October and November 1995 were recorded and released on the live album ''[[Thrakattak]]'' in May 1996, consisting of improvisations from performances of "THRAK" and Fripp's DGM partner David Singleton into an hour-long extended improvisation.<ref name="THRAKATTAK">{{cite web|url={{AllMusic|class=album|id=mw0000190113|pure_url=yes}}|title=Thrakattak|last=Planer|first=Lindsay|publisher=AllMusic|accessdate=29 August 2007}}</ref> A more conventional live recording from the period was later made available on the 2001 double CD release ''[[Vrooom Vrooom]]'', as was a 1995 concert on the 2003 ''[[Déjà Vrooom]]'' DVD.
 
When fresh writing rehearsals began in mid-1997 in [[Nashville, Tennessee]], Fripp was dissatisfied with the quality of the new music being developed by the band; developing friction and disagreements between himself and Bruford led to the latter deciding to leave King Crimson.<ref name="brufordautobiography" /><ref name="brufordautobiography" /> The resulting atmosphere and the lack of workable band material almost broke the band up altogether. Instead, the six members (including Bruford) opted to work in four smaller groups (or "fraKctalisations", according to Fripp) known as the [[ProjeKcts]]. This enabled the group to continue developing musical ideas and searching for Crimson's next direction without the practical difficulty and expense of convening all six members at once. In 1998 and 1999, the first four ProjeKcts played live in the US, Japan, and the UK and released recordings that showed a high degree of free improvisation.<ref name="RSBIO" /> These have been collectively described by music critic [[J. D. Considine]] as "frequently astonishing" but lacking in melody, and perhaps too difficult for a casual listener.<ref name="RSBIO" />
 
=== 2000–2010: the Double Duo and the second quintet – ''The Construkction of Light'', ''The Power to Believe'', 40th Anniversary tour, third hiatus ===
At the end of the four ProjeKct runs, Bruford left King Crimson altogether to resume his work in jazz. At the same time, Levin's commitments as a session and touring musician forced him to take an indefinite break from the band. The remaining members (Fripp, Belew, Gunn and Mastelotto) reconvened as a "Double Duo" to write and record ''[[The Construkction of Light]]''<ref name="DGMBIO" /> in Belew's basement and garage near [[Nashville]]. Released in May 2000, the album reached No. 129 in the UK. All of the pieces were metallic and harsh in sound, similar to the work of contemporary [[alternative metal]]. They featured a distinct electronic texture, a heavy processed drum sound from Mastelotto, Gunn continuing on Warr Guitar but now taking over the bass role, and a different take on the interlocked guitar sound that the band had used since the 1980s. With the exception of a parodic industrial blues (sung by Belew through a voice changer under the pseudonym of "Hooter J. Johnson"), the songs were unrelentingly complex and challenging to the listener, with plenty of rhythmic displacement to add to the harsh textures. The album contains the [[Larks' Tongues in Aspic (instrumental)#Part IV|fourth instalment]] of "Larks' Tongues in Aspic". It received a negative reception for lacking new ideas.<ref name="TCOL">{{cite web|url={{AllMusic|class=album|id=mw0000066513|pure_url=yes}}|title=The ConstruKction of Light|last=Nickey|first=Jason|publisher=AllMusic|accessdate=29 August 2007}}</ref> The band recorded an album at the same time, under the name of [[ProjeKct X]], called ''[[Heaven and Earth (ProjeKct X album)|Heaven and Earth]]''.<ref name="HE">{{cite web|url={{AllMusic|class=album|id=mw0001158736|pure_url=yes}}|title=Heaven and Earth|last=Hayes|first=Kelvin|publisher=AllMusic|accessdate=29 August 2007}}</ref> Conceived and led by Mastelotto and Gunn, with Fripp and Belew playing subsidiary roles, it was a further development of the polyrhythmic/dance music approach adopted in the ProjeKcts.<ref name="HE" />
 
[[Датотека:Adrian_Belew_(2006).jpg|десно|мини|Belew performing in 2006]]
King Crimson toured to support both albums, including double bill shows with [[Tool (band)|Tool]]. The tour was documented in the triple live album ''[[Heavy Construkction]]'', released in December 2000. This showed the band constantly switching between the structured album pieces and ferocious ProjeKct-style Soundscape-and-percussion improvisations.<ref name="TOOL">{{cite web|url=http://toolshed.down.net/articles/index.php?action=view-article&id=August_2001--MTV_Online.html|title=Tool Stretch Out And Slow Down in Show With King Crimson|author=Bond, Laura|year=2001|work=MTV.com|accessdate=23 March 2007}}</ref> Bassist [[John Paul Jones (musician)|John Paul Jones]] supported the band on some live shows.<ref>[http://www.billboard.com/news/king-crimson-john-paul-jones-dec-5-2001-1164998.story#]{{dead link|date=April 2014}}</ref>
 
On 9 November 2001, King Crimson released a limited edition live [[extended play]] called ''[[Level Five (EP)|Level Five]]'',<ref>{{Cite web|url=https://www.AllMusic.com/album/level-five-mw0000376123|title=Level Five|last=Planer|first=Lindsay|publisher=AllMusic|access-date=2018-01-13}}</ref> featuring three new pieces: Previously unrecorded new tracks "Dangerous Curves", "Level Five" title track and "Virtuous Circle", plus versions of "The Construkction of Light" and 1998 ProjeKct Two's "Deception of the Thrush" followed by the unlisted track "ProjeKct 12th and X" after one silent minute.<ref>{{cite web|url=https://www.burningshed.com/store/kingcrimson/product/313/1975/|title=King Crimson|website=Burningshed.com|accessdate=19 May 2018}}</ref> A second EP followed in October 2002, ''[[Happy with What You Have to Be Happy With]]''.<ref name="HAPPY">{{cite web|url={{AllMusic|class=album|id=mw0000225401|pure_url=yes}}|title=Happy With What You Have to Be Happy With|last=Planer|first=Lindsay|publisher=AllMusic|accessdate=29 August 2007}}</ref> This featured eleven tracks including a live version of "Larks' Tongues in Aspic, Part IV". Half of the tracks were brief processed vocal snippets sung by Belew, and the songs themselves varied between gamelan pop, Soundscapes, and slightly parodic takes on heavy metal and blues.
 
King Crimson released their thirteenth album, ''[[The Power to Believe]]'', in October 2003.<ref name="TPTB">{{cite web|url={{AllMusic|class=album|id=mw0000018851|pure_url=yes}}|title=The Power to Believe|last=Planer|first=Lindsay|publisher=AllMusic|accessdate=29 August 2007|}}</ref> Fripp described it as "the culmination of three years of Crimsonising". The album incorporated reworked and/or retitled versions of "Deception of the Thrush", tracks from their previous two EPs, and a 1997 track with added instrumentation and vocals. ''The Power to Believe'' reached No. 162 in the UK and No. 150 in the US. King Crimson toured in 2003 to support the album; recordings from it were used for the live album ''[[EleKtrik: Live in Japan]]''. 2003 also saw the release of the DVD ''[[Eyes Wide Open (King Crimson album)|Eyes Wide Open]]'', a compilation of the band's shows Live at the Shepherds Bush Empire (London, 3 July 2000) and Live in Japan (Tokyo, 16 April 2003).
 
In November 2003, Gunn left the group to pursue solo projects and was replaced by the returning Tony Levin. The band reconvened in early 2004 for rehearsals, but nothing developed from the sessions. At this point, Fripp was publicly reassessing his desire to work with King Crimson and within the music industry, often citing the unsympathetic aspects of the life of a touring musician.
 
Despite this, a new King Crimson formation was announced in 2007:<ref name="BLCR">[http://www.musicstreetjournal.com/tunerinterview.htm MSJ-Interview] {{webarchive|url=https://archive.today/20071009211409/http://www.musicstreetjournal.com/tunerinterview.htm|date=9 October 2007}}</ref> Fripp, Belew, Levin, Mastelotto, and a new second drummer, [[Gavin Harrison]],<ref>{{cite web|url=http://www.dgmlive.com/diaries.htm?entry=8366|title=Robert Fripp's diary, 9 November 2007|date=|publisher=Dgmlive.com|archiveurl=https://web.archive.org/web/20110718005616/http://www.dgmlive.com/diaries.htm?entry=8366|archivedate=18 July 2011|deadurl=yes|accessdate=16 July 2011|df=dmy-all}}</ref><ref>{{cite web|url=http://www.dgmlive.com/archive.htm?artist=8&show=1168|title=Two of a Perfect Pair|publisher=Discipline Global Mobile|archiveurl=https://web.archive.org/web/20151016002030/http://www.dgmlive.com/archive.htm?artist=8&show=1168|archivedate=16 October 2015|deadurl=yes|accessdate=14 October 2015|df=dmy-all}}</ref> the first new member from the UK since 1972. In August 2008, after a period of rehearsals,<ref name="2008REH">{{cite web|url=http://www.dgmlive.com/diaries.htm?artist=&show=&member=3&entry=9991|title=Robert Fripp's Diary|publisher=DGMLive (dgmlive.com)|archiveurl=https://web.archive.org/web/20080421161227/http://www.dgmlive.com/diaries.htm?artist=&show=&member=3&entry=9991|archivedate=21 April 2008|deadurl=yes|accessdate=15 April 2008|df=dmy-all}}</ref> the five completed the band's 40th Anniversary Tour. The setlists featured no new material, drawing instead from the existing ''Discipline''-era/Double Trio/Double Duo repertoire, although several pieces received striking new percussion-heavy arrangements. Additional shows were planned for 2009, but were cancelled due to scheduling clashes.
 
King Crimson began another hiatus after the 40th Anniversary Tour.<ref>[http://www.crawdaddy.com/index.php/2009/06/23/part-ii-king-crimsons-adrian-belew/2/ 'King Crimson's Adrian Belew, part II'] {{webarchive|url=https://web.archive.org/web/20100212054820/http://www.crawdaddy.com/index.php/2009/06/23/part-ii-king-crimsons-adrian-belew/2|date=12 February 2010}} (interview in Riot Gear column in Crawdaddy by Max Mobley, 23 June 2009)</ref> Belew continued to lobby for reviving the band, and discussed it with Fripp several times in 2009 and 2010. Among Belew's suggestions was a temporary reunion of the 1980s line-up for a thirtieth anniversary tour: an idea declined by both Fripp and Bruford, the latter commenting "I would be highly unlikely to try to recreate the same thing, a mission I fear destined to failure."<ref>Slevin, Patrick, "[http://www.theaquarian.com/2010/06/15/interview-with-adrian-belew-the-guitar-man/3/ Interview with Adrian Belew: The Guitar Man]", The Aquarian, 15 June 2010</ref><ref>{{cite web|url=http://elephant-blog.blogspot.com/2010/06/look-out-east-coast-here-i-come.html|title=Adrian Belew blog posting, 15 June 2010|date=15 June 2010|publisher=Elephant-blog.blogspot.com|accessdate=16 July 2011}}</ref><ref name="elephant-blog.blogspot.com">{{cite web|url=http://elephant-blog.blogspot.com/2010/07/this-lets-me-off-hook.html|title=Adrian Belew blog posting, 16 July 2010|date=16 July 2010|publisher=Elephant-blog.blogspot.com|accessdate=16 July 2011}}</ref><ref name="elephant-blog.blogspot.com" /><ref>{{cite web|url=http://www.billbruford.com/news/archive.php?target=views|title=Bill Bruford news archive, 14 July 2010|date=|publisher=Billbruford.com|archive-url=https://web.archive.org/web/20110613180305/http://www.billbruford.com/news/archive.php?target=views|archive-date=13 June 2011|dead-url=yes|accessdate=16 July 2011|df=dmy-all}}</ref> In December 2010, Fripp wrote that the King Crimson "switch" had been set to "off", citing several reasons for this decision.<ref name="frippdiarydecember5th2010">{{cite web|url=http://www.dgmlive.com/diaries.htm?entry=18729|title=Robert Fripp's Diary – entry for December 5, 2010|date=|publisher=Dgmlive.com|archiveurl=https://web.archive.org/web/20130927135039/http://www.dgmlive.com/diaries.htm?entry=18729|archivedate=27 September 2013|deadurl=yes|accessdate=16 July 2011|df=dmy-all}}</ref>
 
=== 2011–present: the "Seven-Headed Beast" lineup and the Double Quartet ===
 
In 2011, a band called Jakszyk Fripp Collins (and subtitled "A King Crimson ProjeKct") released an album called ''[[A Scarcity of Miracles]]''. The band featured Jakko Jakszyk, Robert Fripp and Mel Collins as main players and composers, with Tony Levin and Gavin Harrison covering bass guitar/Chapman Stick and drums respectively. At one point, Fripp referred to the band as "P7".<ref name="PSEVEN">{{cite web|url=http://www.dgmlive.com/diaries.htm?diarist=3&entry=18729|title=ProjeKct Seven|publisher=Discipline Global Mobile (dgmlive.com)|archiveurl=https://web.archive.org/web/20110927015501/http://www.dgmlive.com/diaries.htm?diarist=3&entry=18729|archivedate=27 September 2011|deadurl=yes|accessdate=6 April 2011|df=dmy-all}}</ref> Unusually for a ProjeKct, it was based around fully finished and carefully crafted original songs (initially derived from improvisations). For a while, King Crimson fans debated whether this was a new line-up of the main band under another name, but the project did not tour or release another album. In August 2012, Fripp announced his retirement from the music industry, leaving the future of King Crimson uncertain.<ref>{{cite web|url=http://www.ft.com/cms/s/2/f588e100-d7ee-11e1-9980-00144feabdc0.html#ixzz25mEnRslA|title=The day the music died|last=Hunter|first=Ludovic|date=3 August 2012|publisher=FT.com|accessdate=14 December 2012}}</ref><ref>{{cite web|url=http://www.dprp.net/wp/?p=7155|title=Robert Fripp quit music &#124; DPRP News Blog|date=4 September 2012|publisher=Dprp.net|accessdate=14 December 2012}}</ref><ref>{{cite web|url=http://www.planetrock.com/news/rock-news/king-crimsons-robert-fripp-quits-music-biz/|title=King Crimson's Robert Fripp Quits Music Biz &#124; Rock News &#124; News|date=7 September 2012|publisher=Planet Rock|accessdate=14 December 2012}}</ref>
 
In September 2013, Fripp suddenly and unexpectedly announced King Crimson's return to activity with a "very different reformation to what has gone before: seven players, four English and three American, with three drummers".<ref name="dgmlive.com">{{cite web|url=http://www.dgmlive.com/news.htm|title=News|date=|publisher=Dgmlive.com|accessdate=19 April 2014}}</ref> He cited several reasons to make a comeback, varying from the practical<ref name="KCreturn">{{cite web|url=https://www.dgmlive.com/diaries/Robert%20Fripp/bredonborough-rising-with-devil-bug-210916|title=Bredonborough Rising with Devil Bug|date=6 September 2013|website=Robert Fripp's Diary|publisher=Discipline Global Mobile|accessdate=26 July 2017|df=dmy-all}}</ref> to the whimsical: "I was becoming too happy. Time for a pointed stick."<ref name="frippdiary24092013">[http://www.dgmlive.com/diaries.htm?artist=&show=&member=3&entry=24320 Robert Fripp's Diary for Tuesday 24 September 2013] {{webarchive|url=https://web.archive.org/web/20150128132658/http://www.dgmlive.com/diaries.htm?artist=&show=&member=3&entry=24320|date=28 January 2015}}</ref> The new line-up drew from both the previous lineup (retaining Fripp, Levin, Harrison and Mastelotto) and the ''Scarcity of Miracles'' project (adding Jakszyk and Collins), with [[Guitar Craft]] alumnus and former [[R.E.M.]]/[[Ministry (band)|Ministry]] drummer [[Bill Rieflin]] as the seventh member. Adrian Belew was not asked to take part, thus ending his 32-year tenure in King Crimson: Jakszyk took his place as singer and second guitarist.<ref name="ReferenceA">{{cite web|url=http://www.dgmlive.com/news.htm?entry=4335|title=News|date=|publisher=Dgmlive.com|accessdate=19 April 2014}}</ref> This version of the group took on the nickname of "the Seven-Headed Beast".<ref name="ucr07012017">[http://ultimateclassicrock.com/king-crimson-us-2017-tour/ 'King Crimson Will Tour the U.S. in 2017'] by Dave Lifton, ''Ultimate Classic Rock'', 7 January 2017</ref>
 
In early 2014, King Crimson had no plans to record in the studio, instead playing "reconfigured" versions of past material<ref name="uncut2014">[http://www.uncut.co.uk/king-crimson-unveil-new-line-up-and-2014-tour-plans-news "King Crimson unveil new lineup and 2014 tour plans"], ''Uncut'' magazine, March 2014</ref> For the first time since 1974, the band's repertoire included songs from the run of albums between ''In The Court of the Crimson King'' and ''Larks' Tongues in Aspic'', as well as including instrumentals from ''THRAK'' and ''The Power to Believe'' (although Adrian Belew's songs were conspicuously absent). After rehearsing in England,<ref>{{cite web|url=https://montrealgazette.com/entertainment/king-crimsons-tony-levin-and-gavin-harrison-the-complete-conversation|title=King Crimson's Tony Levin and Gavin Harrison: the complete conversation|last1=Zivitz|first1=Jordan|website=[[Montreal Gazette]]|publisher=[[Postmedia Network]]|accessdate=11 December 2015}}</ref><ref>{{cite web|url=https://www.youtube.com/watch?v=TMYeWhkqQtQ|title=AndesProg – Interview Pat Mastelotto King Crimson|website=YouTube|accessdate=11 December 2015}}</ref> they toured North America from 9 September 2014 across 20 dates.<ref name="2014Shows">{{cite web|url=https://www.rollingstone.com/music/news/king-crimson-will-reunite-for-three-new-york-city-shows-20140602|title=King Crimson Will Reunite for Three New York City Shows|last1=Reed|first1=Ryan|website=Rolling Stone|accessdate=3 June 2014}}</ref><ref>[https://www.rollingstone.com/music/live-reviews/king-crimson-in-albany-the-best-new-band-in-prog-begins-a-u-s-tour-20140910#ixzz3D0gvzypt 'King Crimson in Albany: The Best New Band in Prog Begins a U.S Tour'], David Fricke, ''Rolling Stone'', 10 September 2014</ref> Recordings from the Los Angeles dates were released as ''[[Live at the Orpheum]]''.
 
Tours across Europe, Canada, and Japan followed<ref name="DGMLiveTourDates">[http://www.dgmlive.com/tour.htm DGMLive Tour Dates page] {{webarchive|url=https://web.archive.org/web/20151025084018/http://www.dgmlive.com/tour.htm|date=25 October 2015}}</ref> in the later half of 2015. A live recording from the Canadian leg of the tour was released as ''[[Live In Toronto (King Crimson album)|Live In Toronto]]''. A European tour was planned for 2016. Following Rieflin's decision to take a break from music<ref>[http://www.dgmlive.com/diaries.htm?entry=83911093 Robert Fripp's Diary, Sunday 6 March 2016] {{webarchive|url=https://web.archive.org/web/20160307234950/http://www.dgmlive.com/diaries.htm?entry=83911093|date=7 March 2016}}</ref> after the three dates of March, April and June in Salisbury, drummer [[Jeremy Stacey]] of [[Noel Gallagher's High Flying Birds]] was called in place for dates from September, building-up the now so-called 2016-SOND line-up.
 
On 7 December 2016, founding King Crimson member [[Greg Lake]] died of cancer.
 
On 3 January 2017, Robert Fripp announced Bill Rieflin's return to King Crimson.<ref>{{cite web|url=https://www.dgmlive.com/diaries/Robert+Fripp/RF_diary_2017_Jan_03|title=Bredonborough|date=3 January 2017|website=Dgmlive.com|accessdate=19 May 2018}}</ref> Since the band liked and wished to retain Jeremy Stacey, Rieflin shifted his group role and became King Crimson's full-time keyboard player. Consequently, King Crimson became an octet, referred to by Fripp as the "Double Quartet Formation".<ref name="ucr07012017" /><ref>{{cite web|url=https://www.dgmlive.com/diaries/Robert+Fripp/RF_diary_2017_Feb_13|title=DGM HQ.|date=14 February 2017|website=Dgmlive.com|accessdate=19 May 2018}}</ref><ref>{{cite web|url=https://www.rollingstone.com/music/features/king-crimsons-bill-rieflin-on-new-tour-david-bowie-cover-w482835|title=King Crimson's Bill Rieflin on Summer Tour, Bowie Cover, Band's Future|author1-last=Smith|author1-first=Steve|date=22 May 2017|work=Rolling Stone}}</ref>
 
On 31 January 2017, another former King Crimson member, [[John Wetton]], died of [[colon cancer]].<ref>{{Cite news|url=http://www.nme.com/news/music/asia-forntman-ex-king-crimson-bassist-john-wetton-dies-1964154|title=Asia frontman, ex-King Crimson bassist John Wetton dies – NME|date=2017-01-31|newspaper=NME|access-date=2017-01-31|language=en-US}}</ref><ref>{{Cite news|url=http://teamrock.com/news/2017-01-31/john-wetton-dies-aged-67|title=John Wetton dies aged 67|date=2017-01-31|newspaper=Prog|access-date=2017-01-31|language=en-GB}}</ref><ref>{{cite web|url=http://www.ibtimes.co.uk/john-wetton-frontman-asia-key-prog-rock-figure-dies-aged-67-1604062|title=John Wetton, frontman for Asia and key prog rock figure, dies aged 67|last=Robbins|first=Josh|date=31 January 2017|publisher=}}</ref>
 
On 27 April 2017, King Crimson announced a new live EP named "Heroes" after the David Bowie song, as a tribute to both the artist and the album featuring the song in question (both of which featured distinctive Robert Fripp guitar contributions throughout).<ref>{{cite web|url=https://www.dgmlive.com/news/Crimson%20release%20Heroes%20EP|title=Crimson Release Heroes EP, 27th April 2017|website=Dgmlive.com|accessdate=19 May 2018}}</ref> The video to the song won "Video of the Year" at the 2017 [[Prog (magazine)|Progressive Music Awards]].<ref>{{cite web|url=http://teamrock.com/news/2017-09-15/marillion-anathema-steve-hackett-among-progressive-music-award-winners|title=Marillion, Anathema, Steve Hackett among Progressive Music Award winners|date=14 September 2017|work=teamrock.com|accessdate=25 September 2017}}</ref> Shortly afterwards, King Crimson embarked on an extensive tour of North America beginning on 11 June 2017 in Seattle, Washington and ending on 26 November 2017 in Milwaukee, Wisconsin.
 
On 3 September 2017, Robert Fripp announced that his differences with Adrian Belew had been resolved and that Belew was now King Crimson's "Ninth Man Inactive"; meaning that there were "no current plans for (him) to come out with the current formation; but (he) has rejoined the larger family - hooray! - and doors to the future are open." Belew confirmed this, adding "it means I may be back in the band in the future at some point. It leaves the door open for Crimson to evolve as necessary."<ref name="Belew9thMan">{{cite web|url=https://www.dgmlive.com/news/Belew%20now%209th%20Man|title=Peace - a new beginning?|last1=Smith|first1=Sid|date=4 September 2017|work=DGM Live}}</ref>
 
On 13 October 2017, it was announced that Bill Rieflin would be unable to join the Double Quartet Formation on the 2017 Autumn tour in the U.S. He was temporarily replaced by Seattle-based [[Guitar Craft|Crafty Guitarist]] Chris Gibson.<ref name="GibsonJoins">{{cite web|url=https://www.dgmlive.com/news/Chris%20Gibson%20joins%20Crim|title=Chris Gibson joins Crim|last1=Smith|first1=Sid|date=13 October 2017|website=DGM Live}}</ref>
 
During 2018, King Crimson performed the extensive 33-date Uncertain Times tour through the UK and Europe between 13 June and 16 November, visiting Poland, Germany, Austria, Czech Republic, Sweden, Norway, the Netherlands, Italy, the UK and France.<ref name="teamrock.com Uncertain Times tour">{{cite web|url=http://teamrock.com/news/2017-11-22/king-crimson-announce-uncertain-times-uk-and-european-tour|title=King Crimson announce Uncertain Times UK and European tour – King Crimson will play 33 dates across the UK and Europe next year on the Uncertain Times tour (by Scott Munro)|date=22 November 2017|website=teamrock.com|accessdate=24 November 2017}}</ref>
 
On 6th April 2019, it was announced at a press conference that Rieflin would take another break from King Crimson to attend to family matters, and that his place on keyboards for the 2019 50th anniversary tour would be taken by [[Theo Travis]], better known as a jazz saxophonist, [[Soft Machine]] member and occasional duo collaborator with Robert Fripp.<ref>{{cite web|url=https://www.rollingstone.com/music/music-features/king-crimson-robert-fripp-press-conference-819254|title=King Crimson’s 50th Anniversary Press Day: 15 Things We Learned|author1-last=Shteamer|author1-first=Hank|work=Rolling Stone|accessdate=8 April 2019}}</ref> Although Travis joined the band for rehearsals, Fripp announced on 2nd May that the band had decided that it was no longer possible to have other musicians deputising for Rieflin and for this reason were "proceed(ing) as a Seven-Headed Beast" without Travis.<ref>{{cite web|url=https://www.facebook.com/photo.php?fbid=2682107021805311&set=a.584632631552771&type=3&theater|title=Robert Fripp - In the King Crimson Rehearsal Zone at 13.02 today...|publisher=Facebook|accessdate=2 May 2019}}</ref><ref>[https://www.dgmlive.com/news/irreplaceable-billness 'Irreplaceable Billness'] (post on DGM Live, 02 May 2019)</ref>
 
== King Crimson members' bands devoted to playing King Crimson's music ==
Since the early 2000s, several bands containing former, recent or current King Crimson members have toured and recorded, performing King Crimson music.
 
Active between 2002 and 2004, the [[21st Century Schizoid Band]] reunited several former King Crimson members who had played on the band's first four albums. The band featured [[Ian McDonald (musician)|Ian McDonald]], [[Mel Collins]], [[Peter Giles (musician)|Peter Giles]] and [[Michael Giles]] (the latter subsequently replaced by [[Ian Wallace (drummer)|Ian Wallace]]), and was fronted by guitarist/singer [[Jakko Jakszyk]] (a decade prior to his own recruitment into King Crimson proper). The band engaged in several tours, played material from the band's 1960s and 1970s catalogue, and recorded several live albums.<ref name="21BIO">{{cite web|url=http://www.21stcenturyschizoidband.com/biog/biog.html|title=Biography|publisher=21st Century Schizoid Band (21stcenturyschizoidband.com)|accessdate=29 August 2007}}</ref>
 
Since 2007, Tony Levin has led the trio [[Stick Men (prog band)|Stick Men]], which also features Pat Mastelotto (the band was initially completed by Chapman Stick player Michael Bernier, replaced in 2010 by touch guitarist and former Fripp student [[Markus Reuter]]). This band includes and interprets King Crimson compositions from the band's entire career in their live sets. Reuter and Mastelotto also play together as a duo (originally called Tuner), for which they have been known to rework the mid-1980s King Crimson instrumental "Industry" live.
 
Augusta 1967. braća Michael Giles(bubnjevi) i Peter Giles (bas) , koji su bili profesionalni muzičari i radili sa raznim bendovima od svojih tinejdžerskih dana u engleskom gradu [[Дорсет|Dorsetu]] , objavili su oglas za organistu koji zna dobro da peva, javio se [[Robert Fripp|Robert Frip]] , gitarista koji ne peva , i tako je oformljen bend [[Giles, Giles and Fripp|Gajls, Gajls i Frip]] . Baziran na pop pesmama i kompleksnim instrumentalima , bend je snimio nekoliko neuspešnih singlova i jedan album , [[The Cheerful Insanity of Giles, Giles and Fripp.|''The Cheerful Insanity of Giles, Giles and Fripp''.]] Bend je bio na granici da postane uspešan , sa nekoliko radio sesija i pojavljivanjem na televiziji , ali nikada nije napravio hit koji bi bio ključan za komercijalno probijanje . Album nije bio veći uspeh od singlova i bio je i javno odbačen od strane [[Kit Mun|Kit Muna]] iz benda [[Ху (бенд)|the Who]] u jednoj recenziji u magazinu.
Between 2011 and 2014, Stick Men and Adrian Belew's Power Trio band (Belew plus drummer Tobias Ralph and bass player [[Julie Slick]]) joined forces to play and tour as [[ProjeKcts#The Crimson ProjeKCt (2011–2014)|The Crimson ProjeKCt]], covering the music made during Belew's tenure as King Crimson frontman and principal songwriter.
 
Pokušavajući da prošire svoj zvuk , ova trojica su pozvali klavijaturistu , i duvača Iana McDonalda .McDonald je doneo sa sobom svoju tadašnju devojku Judy Dyble , čiji se kratak boravak ubendu završio kada su se rastali. McDonald je doveo tekstopisca, roudi i umetničkog stratega [[Piter Sajnfeld|Piter Sajnfelda]] , sa kim je pisao pesme . Partnerstvo je počelo kada je MekDonald rekao Piteru
During his solo career (including performance with the Power Trio), Adrian Belew has performed versions of certain King Crimson songs written predominantly by himself, such as "Dinosaur," as well as ensemble pieces like "Frame by Frame" and "Neurotica,". Post-Crimson, he has also performed live versions of King Crimson songs which he neither wrote nor composed (in particular when he has played with Eddie Jobson), such as "Red" or "Larks' Tongues In Aspic, Pt. II".
 
== Musical style ==
The band's music was initially grounded in the rock of the 1960s, especially the [[acid rock]] and [[psychedelic rock]] movements. The band played [[Donovan]]'s "Get Thy Bearings" in concert,<ref name="ETFAQ">{{cite web|url=http://www.elephant-talk.com/faq/et-faq.txt|title=King Crimson FAQ|publisher=Elephant Talk (archived page from elephant-talk.com)|archiveurl=https://web.archive.org/web/20050828134638/http://www.elephant-talk.com/faq/et-faq.txt|archivedate=28 August 2005|accessdate=29 August 2007}}</ref> and were known to play [[the Beatles]]' "[[Lucy in the Sky with Diamonds]]" in their rehearsals.<ref name="ETFAQ" /> However, for their own compositions, King Crimson (unlike the rock bands that had come before them) largely stripped away the [[blues]]-based foundations of rock music and replaced them with influences derived from classical composers. The first incarnation of King Crimson played the ''Mars'' section of [[Gustav Holst]]'s suite ''[[The Planets]]'' as a regular part of their live set<ref name="ETFAQ" /> and Fripp has frequently cited the influence of [[Béla Bartók]].<ref name="QRP">{{cite web|url=http://www.quietriverpress.com/guitarworld.html|title=Interview with Robert Fripp|year=1986|publisher=Guitar World (guietriverpress.com)|accessdate=29 August 2007}}</ref> As a result of this influence, ''[[In the Court of the Crimson King]]'' is frequently viewed as the nominal starting point of the [[progressive rock]] movements.<ref name="AU">{{cite web|url=http://www.abc.net.au/goldcoast/stories/s1255632.htm|title=In the Court of the Crimson King|publisher=ABC Gold & Tweed Coasts (abc.net.au)|archiveurl=https://web.archive.org/web/20060527123553/http://www.abc.net.au/goldcoast/stories/s1255632.htm|archivedate=27 May 2006|accessdate=29 August 2007}}</ref> King Crimson also initially displayed strong [[jazz]] influences, most obviously on its signature track "[[21st Century Schizoid Man]]".<ref name="AU" /><ref name="iTalkToTheWind" /> The band also drew on English [[folk music]] for compositions such as "[[Moonchild (King Crimson song)|Moonchild]]"<ref name="Moonchild">{{AllMusic|id=mt0012463572|title="Moonchild/The Dream/The Illusion"|last=Unterberger|first=Richie|accessdate=16 September 2011}} "'Moonchild', along with 'I Talk to the Wind', was the clearest link to the folk influences borne by King Crimson on its first album, the only one that included Ian McDonald and Michael Giles among the personnel. The first three minutes or so of 'Moonchild' – really, the three minutes that are all that most listeners remember well – comprise a delicate, folky poetic ballad."</ref> and "I Talk to the Wind."<ref name="iTalkToTheWind">{{AllMusic|id=mt0002419977|title="I Talk to the Wind"|last=Unterberger|first=Richie|accessdate=16 September 2011}} "King Crimson, it is not often noted, had some folk and folk-rock influences in their very early days (and the Giles, Giles & Fripp collaborations predating King Crimson). 'I Talk to the Wind' is the track that most reflects these folk influences and the influence of co-songwriter Ian McDonald (only a bandmember for the first album) in particular. Coming right after the assaultive jazz-prog rock of '21st Century Schizoid Man', the first track on their debut album in the Court of the Crimson King: An Observation by King Crimson, this gentle, subdued folky ballad was quite a contrast and served notice that King Crimson was more versatile than your average new band."</ref><ref name="Moonchild" />
 
The 1981 reunion of the band brought in even more elements, displaying the influence of [[gamelan]] music<ref name="BOOK">{{cite book|url=http://www.progressiveears.com/frippbook/contents.htm|title=Robert Fripp – From Crimson King to Crafty Master|last=Tamm|first=Eric|publisher=Progressive Ears (progressiveears.com)|archiveurl=https://web.archive.org/web/20150117003357/http://www.progressiveears.com/frippbook/contents.htm|archivedate=17 January 2015|deadurl=yes|df=dmy-all}}</ref> and of late 20th century classical composers such as [[Philip Glass]],<ref name="GLASS">{{cite web|url=http://www.themodernword.com/beckett/beckett_glass.html|title=Philip Glass|publisher=The Modern Word (themodernword.com)|archiveurl=https://web.archive.org/web/20070817004450/http://www.themodernword.com/beckett/beckett_glass.html|archivedate=17 August 2007|deadurl=yes|accessdate=29 August 2007|df=dmy-all}}</ref> [[Steve Reich]],<ref name="STEVE">{{cite web|url=https://www.bbc.co.uk/music/artist/9dxm/|title=Steve Reich|publisher=[[BBC Music]] (bbc.co.uk)|accessdate=29 August 2007}}</ref> and [[Terry Riley]].<ref name="TERRY">{{cite web|url=http://www.news-releases.uiowa.edu/2004/february/020604bang-on-can.html|title=Terry Riley|publisher=University of Iowa (uiowa.edu)|archive-url=https://web.archive.org/web/20071011225251/http://news-releases.uiowa.edu/2004/february/020604bang-on-can.html|archive-date=11 October 2007|dead-url=yes|accessdate=29 August 2007|df=dmy-all}}</ref> For its 1994 reunion, King Crimson reassessed both the mid-1970s and 1980s approaches in the light of new technology, intervening music forms such as [[grunge]], and further developments in [[industrial music]], as well as expanding the band's ambient textural content via Fripp's Soundscapes looping approach.
 
=== Compositional approaches ===
Линија 213 ⟶ 92:
 
== Influence ==
King Crimson have been influential both on the early 1970s progressive rock movement and numerous contemporary artists. [[Genesis (band)|Genesis]] and [[Yes (band)|Yes]] were directly influenced by the band's initial style of symphonic Mellotron rock,<ref name="DGMBIO">{{cite web|url=http://www.dgmlive.com/kc/index.htm?bio=true|title=King Crimson biography|publisher=Discipline Global Mobile (dgmlive.com)|archiveurl=https://web.archive.org/web/20070927222641/http://www.dgmlive.com/kc/index.htm?bio=true|archivedate=27 September 2007|deadurl=yes|accessdate=29 August 2007|df=dmy-all}}</ref> and many King Crimson band members were involved in other notable bands: Lake in [[Emerson, Lake & Palmer]], (some of whose songs can be regarded stylistically as Lake's attempt to continue the early work of King Crimson); McDonald in [[Foreigner (band)|Foreigner]]; Burrell in [[Bad Company (band)|Bad Company]], and Wetton in [[UK (band)|UK]] and [[Asia (band)|Asia]]. Canadian rock band [[Rush (band)|Rush]] cites King Crimson as a strong early influence on their sound; drummer [[Neil Peart]] credits the adventurous and innovative style of [[Michael Giles]] on his own approach to percussion.<ref name="DGMBIO" />
 
King Crimson's influence extends to many bands from diverse genres, especially of the 1990s and 2000s. [[Tool (band)|Tool]] are known to be heavily influenced by King Crimson,<ref name="DGMBIO" /><ref name="TOOL">{{cite web|url=http://toolshed.down.net/articles/index.php?action=view-article&id=August_2001--MTV_Online.html|title=Tool Stretch Out And Slow Down in Show With King Crimson|author=Bond, Laura|year=2001|work=MTV.com|accessdate=23 March 2007}}</ref><ref name="LATPITCH">{{cite web|url=http://www.pitchforkmedia.com/article/record_review/22622-lateralus|title=Lateralus|publisher=Pitchfork Media (pitchforkmedia.com)|archiveurl=https://web.archive.org/web/20070710113813/http://www.pitchforkmedia.com/article/record_review/22622-lateralus|archivedate=10 July 2007|deadurl=yes|accessdate=29 August 2007|df=dmy-all}}</ref><ref name="EdJourn">{{cite news|url=http://www.ausu.org/voice/pdf/pdf2002/1039-Oct09-02_VOICE.pdf|title=From My Perspective – Tool Concert|author=Jabbour, Debbie|date=5 October 2002|work=[[Edmonton Journal]]|accessdate=24 June 2007|archiveurl=https://web.archive.org/web/20050525173504/http://www.ausu.org/voice/pdf/pdf2002/1039-Oct09-02_VOICE.pdf|archivedate=25 May 2005|publisher=ausu.org|format=PDF|quote=Their roots lie with seminal alternative band King Crimson [...]}}</ref> with vocalist [[Maynard James Keenan]] joking on a tour with them: "Now you know who we ripped off. Just don't tell anyone, especially the members of King Crimson."<ref name="TOOLNEWS">{{cite web|url=http://www.toolband.com/news/letter/2001_09.php|title=August/September&nbsp;2001 newsletter|publisher=Tool official website (toolband.com)|archiveurl=https://www.webcitation.org/6Gudv4efY?url=http://www.toolband.com/news/letter/2001_09.php|archivedate=26 May 2013|deadurl=yes|accessdate=29 August 2007|df=dmy-all}}</ref> Modern progressive, experimental, psychedelic and [[indie rock]] bands have cited them as an influence as well, including [[the Mars Volta]],<ref>{{cite web|url=http://www.monstermagazine.no/21_marsvolta.html|title=Mars Volta|last=Larzen|first=Geir|website=MonsterMagazine.no|language=no|archiveurl=https://web.archive.org/web/20050214045922/http://www.monstermagazine.no/21_marsvolta.html|archivedate=14 February 2005|accessdate=20 February 2017|quote=''Q'': Dette til tross, du kan ikke nekte for å være utpreget influert av King Crimson og Robert Fripp.{{break}}''Omar Rodríguez-López'': Selvfølgelig ikke! Jeg gjør faktisk ingen forsøk på å skjule min affekt for Fripps arbeider. [...] ble jeg introdusert for King Crimson, og på nytt kollapset alt, men på en konstruktiv måte.{{break}}(''Q'': You can't deny that you're influenced by Robert Fripp and King Crimson, right?{{break}}''[[Omar Rodríguez-López]]'': No, of course not! I make no attempt to hide my affection for Fripps work. [...] I was introduced to King Crimson and again everything collapsed, but in a constructive way.)}}</ref><ref>{{cite web|url=http://www.stereogum.com/1254741/deconstructing-the-rise-demise-and-legacy-of-the-mars-volta/franchises/deconstructing/|title=Deconstructing: The Rise, Demise, And Legacy Of The Mars Volta|last=Schafer|first=Joseph|date=7 February 2013|website=[[Stereogum]]|accessdate=20 February 2017|quote=[...] In contrast, ''[[De-Loused]]'' skips Tribute’s [[Faith No More]] worship and leaps straight to King Crimson (their most important influence — more on this later).}}</ref> [[Porcupine Tree]],<ref>{{cite web|url=http://www.progwereld.org/cms/104-porcupine-tree-%E2%80%98hoe-een-soloalbum-de-basis-legt-voor-de-beste-teamprestatie-ooit%E2%80%99/|title=#104 Porcupine Tree’s Steven Wilson: "˜Hoe een soloalbum de basis legt voor de beste teamprestatie ooit’|last=Krul|first=Govert|website=Progwereld.org|location=Amsterdam|language=de|accessdate=21 February 2017|quote=We kunnen hier winnen noch verliezen eigenlijk, maar deze band vormt samen met King Crimson toch wel de belangrijkste inspiratiebron. (We can win here or actually lose, but this band <nowiki>[</nowiki>[[Pink Floyd]]<nowiki>]</nowiki> together with King Crimson got to be the main source inspiration.)}}</ref> [[Primus (band)|Primus]],<ref>{{cite web|url=http://www.heavymusic.fr/index.php/interview/41-primus-les-claypool|title=Primus - Les Claypool|last=Reymond|first=Laurent|website=www.heavymusic.fr|language=fr|accessdate=4 March 2017|quote=''Q'': J’ai toujours pensé que « Elephant Talk » de King Crimson avait servi de base au style de Primus. Qu’en penses-tu ?{{break}}''Les Claypool'': Je ne sais pas si cette chanson en particulier nous a servi de base pour créer Primus, mais il est clair qu’à l’époque nous étions tous fans de cette incarnation de King Crimson et Tony Levin, Adrian Belew, Robert Fripp et Bill Bruford comptaient parmi nos plus grandes influences. Tony Levin encore plus d’ailleurs, car à mon sens il est le meilleur bassiste du monde et celui qui joue avec le plus de goût !{{break}}(''Q'': I always thought that King Crimson's "Elephant Talk" was the basis of Primus's style. What do you think ?{{break}}''[[Les Claypool]]'': I do not know if this particular song served as a basis for creating Primus, but it is clear that at the time we were all fans of this incarnation of King Crimson and Tony Levin, Adrian Belew, Robert Fripp and Bill Bruford were among our greatest influences. Tony Levin even more, because in my opinion he is the best bass player in the world and the one who plays with the most taste!)|publicationdate=19 September 2011}}</ref><ref>{{cite magazine|title=Say "Cheese"!|magazine=[[Kerrang!]]|quote=''Les Claypool'': I'd say the band is a lot more like King Crimson -- the latter version, with Tony Levin, who's one of my big heroes [...] I've always liked weird, abstract stuff. That's why I asked Larry to join the band and not some [[Joe Satriani]] clone. Not that I don't like that type of playing, but I'm big on people like Adrian Belew.|number=343|publicationdate=1 June 1991}}</ref> [[Mystery Jets]],<ref>{{cite web|url=http://www.themetropolist.com/music/interviews/interview-mystery-jets/|title=INTERVIEW: Mystery Jets|last=Carter|first=Hana|date=20 March 2016|website=TheMetropolist.com|accessdate=25 February 2017|quote=''Q'': Which artists do you take inspiration from?{{break}}''[[Blaine Harrison]]'': Pink Floyd and King Crimson are major influences.}}</ref><ref>{{cite web|url=http://www.killermagazine.nl/post/136261177454/interview-mystery-jets-english-version|title=Interview: Mystery Jets (English version)|last=Maassen|first=Marjolein|website=KillerMagazine.nl|accessdate=25 February 2017|quote=Over the years there have been many bands and artists who have formed what we do, whether that’s King Crimson [...]}}</ref> [[Fanfarlo]],<ref>{{cite web|url=http://www.aheartisaspade.com/2014/02/13/a-heart-is-a-spade-interview-fanfarlo/|title=A Heart Is A Spade Interview: Fanfarlo|author=Matt|date=13 February 2014|website=www.aheartisaspade.com|archive-url=https://web.archive.org/web/20170305034918/http://www.aheartisaspade.com/2014/02/13/a-heart-is-a-spade-interview-fanfarlo/|archive-date=5 March 2017|dead-url=yes|accessdate=4 March 2017|quote=There’s a whole raft of other stuff that we’ve been drawing inspiration from though, for instance we were listening a lot to progressive and [[space rock]] while making the record, like King Crimson [...]|df=dmy-all}}</ref> and [[Anekdoten]], who first practised together playing King Crimson songs.<ref>{{cite web|url=http://ghostland.com/ghostland/interviews.asp?ID=5|title=Anekdoten - "One of Sweden's brightest exports discusses the band's work and future"|last=Nicholas|first=Steve|date=January 2001|website=Ghostland.com|archiveurl=https://web.archive.org/web/20030225181747/http://ghostland.com/ghostland/interviews.asp?ID=5|archivedate=25 February 2003|deadurl=yes|accessdate=21 February 2017|quote=When Nicklas, Peter and I started playing together in the middle of 1990 we played covers. The first song that we started rehearsing was "Larks' Tongues in Aspic, Part 2," the second was "Lament" and I believe that the third one was "Red." We wanted to see if we could pull off playing Crimso-songs, primarily from the Wetton-era, as this was our main source for inspiration at the time.}}</ref> [[Steven Wilson]], the leader of Porcupine Tree, was responsible for remixing King Crimson's back catalogue in surround sound and said that the process had an enormous influence on his solo albums.<ref>{{cite web|url=http://teamrock.com/feature/2016-09-26/steven-wilson-i-cant-emphasise-how-much-i-learned-working-with-king-crimsom|title=Steven Wilson: I Can't Emphasise How Much I Learned Working With King Crimson|last=Moon|first=Grant|date=October 2011|publisher=TeamRock|publication-date=26 September 2016|accessdate=20 February 2017|magazine=[[Prog (magazine)|Prog]]|issue=20}}</ref> In November 2012 [[the Flaming Lips]] in collaboration with [[Stardeath and White Dwarfs]] released a track-by-track reinterpretation of ''In the Court of the Crimson King'' entitled ''[[Playing Hide and Seek with the Ghosts of Dawn]]''.<ref>{{cite web|url=https://www.rollingstone.com/music/news/flaming-lips-release-remake-of-king-crimson-album-20121113|title=Flaming Lips Release Remake of King Crimson Album|date=13 November 2012|accessdate=25 February 2017|magazine=[[Rolling Stone]]}}</ref> [[Colin Newman]], of [[Wire (band)|Wire]], said he saw King Crimson perform many times, and that they influenced him deeply.<ref>{{cite web|url=http://pitchfork.com/features/5-10-15-20/10015-wires-colin-newman-on-the-music-that-made-him/|title=Wire’s Colin Newman on the Music That Made Him|last=Ham|first=Robert|date=31 January 2017|website=[[Pitchfork (website)|Pitchfork]]|accessdate=27 February 2017|quote=In the period before I was living in London, I saw King Crimson more than any other band, and they had the biggest effect on me. They were so serious. “21st Century Schizoid Man” is just get it out, put it on the table, and deal with that. The combination of heaviness, technical brilliance, and sheer bonkers arrangements was unbelievable. You don’t know whether to be petrified or burst out laughing.}}</ref> The seminal [[hardcore punk]] group [[Black Flag (band)|Black Flag]] acknowledge Wetton-era King Crimson as an influence on their experimental period in the mid-1980s.<ref>{{cite web|url=http://www.heavymetalbebop.com/post/41782901627/9-greg-ginn|title=#9: GREG GINN|last=Shteamer|first=Hank|date=July 2012|website=Heavymetalbebop.com|location=Manhattan, New York City|archiveurl=https://archive.today/20171124014716/http://www.heavymetalbebop.com/post/41782901627/9-greg-ginn|archivedate=24 November 2017|deadurl=no|accessdate=9 December 2017|df=dmy-all}}</ref> [[Melvin Gibbs]] said that the [[Rollins Band]] was influenced most by King Crimson, using similar chords.<ref>{{cite web|url=http://www.invisibleoranges.com/heavy-metal-be-bop-4-interview-with-melvin-gibbs/|title=Heavy Metal Be-Bop #4: Interview with Melvin Gibbs|last=Shteamer|first=Hank|date=April 2011|website=InvisibleOranges.com|location=Brooklyn|publication-date=24 June 2011|accessdate=23 February 2017|quote=''[[Melvin Gibbs]]'': [...] And like I said, with Rollins Band, King Crimson was a big part of it. You could almost pick out riffs sometimes.}}</ref><ref>{{cite web|url=http://thisisfubarproductions.tumblr.com/post/28902870115/interview-041-chris-haskett-rollins-band|title=INTERVIEW. 041 - Chris Haskett (Rollins Band)|website=Thisisfubarproductions.tumblr.com|accessdate=23 February 2017|quote=''[[Chris Haskett]]'': [...] the biggest ones that influenced the playing I did in the Rollins Band would have to be the “''Red''/''Starless & Bible Black''/''Lark’s Tongue”''-era King Crimson work of Fripp [...]}}</ref> [[Bad Religion]] cites the lyrics of "21st Century Schizoid Man" on their single "[[21st Century (Digital Boy)]]" and the name of their record label, [[Epitaph Records|Epitaph]] (founded by their guitarist [[Brett Gurewitz]]), comes from [[Epitaph (song)|the song of the same name]] of Crimson's debut album.<ref>{{cite web|url=http://www.pias.com/blog/fitting-epitaph-brett-gurewitz-punk-rock-independence-making-big/|title=A fitting Epitaph: Brett Gurewitz on punk rock, independence and making it big|last=Gates|first=Kenny|date=30 November 2015|website=Pias.com|accessdate=23 February 2017}}</ref>
 
King Crimson have frequently been cited as pioneers of [[progressive metal]]{{citation needed|date=July 2016}} and as an influence on bands of this genre, including [[Mastodon (band)|Mastodon]],<ref>{{cite web|url=http://www.lucemfero.com/mastodon112008.php|title=Quintessence - Mastodon vocalist / bassist Troy Sanders spills the worms regarding fourth studio album Crack the Skye|last=Morgan|first=Anthony|date=2 November 2008|website=LucemFero.com|location=Cardiff, United Kingdom|archive-url=https://web.archive.org/web/20110501180423/http://www.lucemfero.com/mastodon112008.php|archive-date=1 May 2011|dead-url=yes|accessdate=20 February 2017|quote=''[[Troy Sanders]]'': [...] As far as Prog Rock goes, we all love King Crimson. Roughly ten years ago, our guitarist [[Brent Hinds|Brent]] introduced me to King Crimson. I've fallen in love with the group, and listen to their material all the time.|df=dmy-all}}</ref><ref>{{cite web|url=http://www.spiritribe.com/Evetribepages/Interview/EnglishVersion/MastodonIntwUSA.htm|title=Mastodon Interview|author=Alexis|date=3 March 2005|location=Nantes, France|accessdate=20 February 2017|quote=''[[Brann Dailor]]'': We are influenced by lots of different things, kinds of music, life experiences. Our common ground musically is Neurosis and [[Melvins]] and [[Thin Lizzy]], but there's lots of stuff, old thrash, 70 prog rock, King Crimson [...]}}</ref> [[Between the Buried and Me]],<ref>{{cite web|url=http://echoesanddust.com/2015/07/interview-dan-briggs-from-between-the-buried-and-me/|title=(((O))) : Interview: Dan Briggs from Between the Buried and Me|last=Westland|first=Raymond|date=July 2015|website=EchoesAndDust.com|accessdate=21 February 2017|quote=''Q'': Now you mention it, there are some fairly strong King Crimson and Yes references to be found.{{break}}''[[Dan Briggs (musician)|Dan Briggs]]'': Yes, that’s exactly what I mean. These influences are a part of our music since the ''[[Alaska (Between the Buried and Me album)|Alaska]]'' days, a good ten years ago. King Crimson is a particular big influence. We actually covered ‘Three Of A Perfect Pair’ in 2006. It’s always been there really, but it seems to become more dominant lately. It’s fun because it’s a big part of our musical makeup and it’s still relevant to us who we are as musicians at this point in our career.}}</ref><ref>{{cite web|url=http://www.toiletovhell.com/farts-and-aging-an-interview-with-between-the-buried-and-me/|title=Farts and Aging: an Interview with Between The Buried And Me|last=Bacon|first=Matt|website=Toiletovhell.com|archiveurl=https://web.archive.org/web/20151224200053/http://www.toiletovhell.com/farts-and-aging-an-interview-with-between-the-buried-and-me/|archivedate=24 December 2015|deadurl=no|accessdate=9 December 2017|quote=''[[Blake Richardson (drummer)|Blake Richardson]]'': King Crimson [is an influence,] of course. Maybe not so much musically but rhythmically there is a lot of stuff I try to emulate that they do.|publicationdate=22 December 2015}}</ref> [[Leprous]],<ref>{{cite web|url=http://studiorock.ro/interviews/leprous-prog-metal-revelation-from-norway-1/|title=Leprous, prog metal revelation from Norway|last=Chirulescu|first=Andrea|date=3 April 2010|website=StudioRock.ro|location=Oslo, Norway|publication-date=7 April 2010|accessdate=21 February 2017}}</ref><ref>{{cite web|url=http://metromontage.com/blog/2015/05/29/interview-20-minutes-with-einar-solberg/|title=Interview: 20 Minutes With Einar Solberg|last=Washington|first=Anthony|website=metromontage.com|archiveurl=https://web.archive.org/web/20160131174454/http://metromontage.com/blog/2015/05/29/interview-20-minutes-with-einar-solberg/|archivedate=31 January 2016|deadurl=no|accessdate=9 December 2017|publicationdate=29 May 2015}}</ref> [[Haken (band)|Haken]],<ref>{{cite web|url=https://theprogmind.com/2016/04/14/an-interview-with-ross-jennings/|title=An Interview with Ross Jennings|date=14 April 2014|website=TheProgMind.com|accessdate=21 February 2017|quote=[...] the 80s King Crimson records (''Discipline'', ''Beat'' & ''Three of a perfect Pair'') were also a reference point for us.}}</ref> [[The Ocean (band)|the Ocean]],<ref>{{cite web|url=http://www.theaquarian.com/2013/07/31/an-interview-with-the-ocean-permanence/|title=An Interview with The Ocean: Permanence|last=Magnotta|first=Andrew|date=31 July 2013|accessdate=7 March 2017|quote=''Robin Staps'': Crimson has always been an influence for me since I started this band at the turn of the millennium. [...]|newspaper=The Aquarian}}</ref> [[Caligula's Horse (band)|Caligula's Horse]],<ref>{{cite web|url=http://rockzeit.dk/interview-caligulas-horse/|title=Interview med Caligula’s Horse|author1=Morten Okkerholm|author2=Robert Bergstein Larsen|date=29 October 2015|website=www.rockzeit.dk|location=Copenhagen, Denmark|accessdate=27 February 2017|publicationdate=6 November 2015}}</ref> [[Last Chance to Reason]],<ref>{{cite web|url=http://www.dermetalkrieger.com/interviews/interview-with-michael-lessard-of-last-chance-to-reason/|title=Interview with Michael Lessard of Last Chance to Reason|last=Cavaliere|first=Gabe|website=Dermetalkrieger.com|accessdate=25 February 2017|quote=''Q'': Your new album, ''[[Level 2 (Last Chance to Reason album)|Level 2]]'', was such an incredible album. What bands helped to influence this album and how did they do that?{{break}}''Michael Lessard'': King Crimson was a big influence. The way they're constantly evolving and pushing the limits rhythmically and harmonically with their music is really something else. They manage to be so abstract, yet digestible.|publicationdate=29 May 2012}}</ref> and [[Indukti]].<ref>{{cite web|url=http://www.powerofmetal.dk/interviews/indukti.htm|title=Indukti Interview|date=26 February 2006|website=www.powerofmetal.dk|accessdate=24 March 2017}}</ref> Members of metal bands [[Mudvayne]],<ref>{{cite news|url=http://www.collegian.psu.edu/arts_and_entertainment/article_cfc730da-f618-5a86-a65f-af9ab943af4d.html?mode=jqm|title=Mudvayne brings 'tongue-in-cheek' sensibility to BJC show|last=Sheaffer|first=Caleb|date=9 April 2003|newspaper=[[The Daily Collegian]]|accessdate=4 March 2017|quote=Inspiration for Mudvayne came from bands such as [[Emperor (band)|Emperor]], King Crimson and Porcupine Tree, [[Matthew McDonough|McDonough]] said.}}</ref> [[Voivod (band)|Voivod]],<ref>{{cite web|url=http://www.westword.com/music/voivod-brought-its-prog-rock-inspired-metal-to-denver-6578482|title=Voivod Brought its Prog-Rock-Inspired Metal to Denver|last=Murphy|first=Tom|date=26 February 2015|accessdate=8 March 2017|newspaper=[[Westword]]}}</ref> [[Enslaved (band)|Enslaved]],<ref>{{cite web|url=http://www.metalsucks.net/2008/11/04/enslaveds-gruttle-kjellson-the-metalsucks-interview/|title=ENSLAVED’S GRUTTLE KJELLSON: THE METALSUCKS INTERVIEW|last=O'Hagar|first=Sammy|date=4 November 2008|website=[[MetalSucks]]|access-date=8 March 2017}}</ref><ref>{{cite web|url=http://metalist.co.il/InterviewPrivate.asp?id=569&lang=eng|title=Enslaved Interview|author=Benek|website=metalist.co.il|archiveurl=https://archive.today/20170821190459/http://metalist.co.il/InterviewPrivate.asp?id=569&lang=eng|archivedate=21 August 2017|deadurl=no|accessdate=9 December 2017|df=dmy-all}}</ref> [[Yob (band)|Yob]],<ref>{{cite web|url=http://www.heavyblogisheavy.com/2015/02/20/mike-scheidt-of-yob-the-heavy-blog-is-heavy-interview/|title=Mike Scheidt of Yob: The Heavy Blog Is Heavy Interview|last=Brown|first=Kit|date=18 February 2015|accessdate=4 March 2017|quote=''[[Mike Scheidt]]'': [...] I wouldn’t say that we’re a progressive rock band, but we do have some of those elements, and King Crimson is definitely a big influence on us.|publicationdate=20 February 2015}}</ref> [[Pyrrhon (band)|Pyrrhon]],<ref>{{cite web|url=http://www.cvltnation.com/sxsw-2014-artist-artist-interviews-nothing-vs-pyrrhon/|title=Sxsw 2014 {{!}} Artist to Artist Interviews {{!}} Nothing Vs. Pyrrhon|last=Palermo|first=Domenic|authorlink=Nothing (band)|website=www.cvltnation.com|location=Austin, Texas, U.S.|accessdate=14 April 2017|quote=''Doug Moore'': [...] We also draw on jazz and ‘70s prog a fair amount, especially for the improvisational side of our sound. [[Mahavishnu Orchestra]] and King Crimson are consensus favorites of ours. [...]|publicationdate=10 March 2014}}</ref> and [[Pallbearer (band)|Pallbearer]]<ref>{{cite web|url=http://www.cvltnation.com/cvlt-nation-interviews-pallbearer/|title=CVLT Nation Interviews Pallbearer + Tour Dates|last=A.|first=Mattia|website=www.cvltnation.com|accessdate=7 March 2017|quote=''Q'': Who would you say are Pallbearer’s biggest influences?{{break}}''Joseph D. Rowland'': [[Black Sabbath]], Pink Floyd, [[Robin Trower]], King Crimson [...]|publicationdate=15 May 2015}}</ref> have cited King Crimson as an influence. Heavy experimental and avant-garde acts like [[the Dillinger Escape Plan]],<ref>{{cite web|url=http://www.rocking.gr/interviews/The-Dillinger-Escape-Plan-interview/18163|title=The Dillinger Escape Plan interview|last=Tsimplakos|first=Jason|date=5 November 2013|website=Rocking.gr|location=Glasgow, Scotland|publication-date=25 November 2013|accessdate=23 February 2017}}</ref> [[Neurosis (band)|Neurosis]],<ref>{{cite web|url=http://www.ram.org/music/articles/neurosisinterview.html|title=Q&A with Scott Kelly of Neurosis|last=Samudrala|first=Ram|date=17 October 2000|website=www.ram.org|accessdate=26 February 2017}}</ref> [[Zeni Geva]],<ref>{{cite web|url=http://japanvibe.net/zeni-geva-interview-2015-05/|title=Zeni Geva interview (2015.05)|last1=Frank|first1=Oliver|last2=Kollár|first2=Bálint|date=May 2015|website=japanvibe.net|accessdate=4 March 2017|quote=''Q'': Zeni Geva’s sound is quite unique, so I wonder what were your main musical inspirations when you started the band?{{break}}''[[KK. Null]]'': Swans, Slayer, [[Art Bears]], King Crimson, etc|publicationdate=1 July 2016}}</ref> [[Ancestors (band)|Ancestors]],<ref>{{cite web|url=http://ancestorsmusic.com/press/features/heavy-metal-time-machine-ancestors-interview|title=Heavy Metal Time Machine – Ancestors interview|website=ancestorsmusic.com|archive-url=https://web.archive.org/web/20130502015238/http://ancestorsmusic.com/press/features/heavy-metal-time-machine-ancestors-interview|archive-date=2 May 2013|dead-url=yes|accessdate=7 March 2017|quote=''Q'': Who are your musical influences?{{break}}''Justin Maranga'': Our influences are pretty diverse, but some are definitely more prevalent than others. I’d say that Pink Floyd and King Crimson are probably our biggest influences. [...]|publicationdate=28 July 2008|df=dmy-all}}</ref> and [[Oranssi Pazuzu]]<ref>{{cite web|url=http://www.cvltnation.com/cvlt-nation-interviews-oranssi-pazuzu/|title=CVLT Nation Interviews: Oranssi Pazuzu|author=Spyros|website=www.cvltnation.com|archiveurl=https://web.archive.org/web/20141025074430/http://www.cvltnation.com/cvlt-nation-interviews-oranssi-pazuzu/|archivedate=25 October 2014|deadurl=yes|accessdate=7 March 2017|publicationdate=12 September 2013}}</ref> all cite King Crimson's influence.
Преузето из „https://sr.wikipedia.org/wiki/Корисник:Lizardzucc/песак”