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  • Thrak
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3.9 out of 5 stars
20
Thrak
Format: Audio CD|Change
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on 10 June 2013
Saw the 80's Crims when they were still Discipline at Liverpool Uni. Then again at the Albert Hall when they were promoting Thrak.
The 80's lineup plus Trey and Pat. Love the band! Roland guitar synths, Belew's vocals and Strat, Brufords's hexagonal wrist bursting Simmons syndrums, Tony Levin's Stick, Trey Gunn's Warr guitar and Pat Mastelotto's batterie and Fripp doing Fripp!! Best iteration of the KC phenomenon in my pompous swelling opinion! This album goes best with the three 80's albums! Great Stuff!
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on 29 May 2017
Great pieces has you would expect but not sure its a corker !! Phil (shanis partner)
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on 21 February 2013
To my ear Adrian Belew sounds curiously like Julian Lennon on some of these tracks. Not a criticism, just an observation. As ever, KC are inventive and surprising. Needless to say this demonstrates first-rate musicianship from the Dr Who of rock bands - constantly regenerated in different forms yet recognisable throughout thanks largely to the peerless Fripp. Not necessarily my favourite KC album, but for me even the 'worst' rates pretty highly.
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on 15 November 2015
surprisingly good album considering the gap since the eighties line-up. Lyrically stronger than most KC albums thanks to Adrian Belew and the strength of the rythym section is obvious, one of Fripp's best
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on 31 August 2017
Love it
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on 4 January 2017
Simply brilliant
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on 14 February 2015
V Good
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VINE VOICETOP 50 REVIEWERon 18 July 2013
This 1995 release from Bob Fripp's perennially rejuvenating KC project added two new members to the 1980s line-up: Trey Gunn as a second stick player opposite Tony Levin, and Pat Mastelotto as a second percussionist opposite Bill Bruford.

The soundscape from the resulting six-piece (completed by Fripp and Adrian Belew on guitars) is a complete departure from the 1980s dance-style of `Discipline', `Beat' and `3 of a Perfect Pair'. Almost heavy metal, the sound harks back to the full-on hard rock numbers characteristic of the 1970s Wetton era on albums like `Red'.

Repeat-listening reveals music not only possessed of a powerful dark energy but also of surprising subtlety, with complex interweaving rhythmic and melodic motifs building beneath the syncopated beats. These strong numbers are offset by some memorable - even humorous - songs, as Belew wails out "I'm a dinosaur! Somebody is digging my bones" in recognition of the band's young imitators and the KC musicians passing into middle age. `People' is poignant social satire which might have been penned by David Byrne (though with a Dylanesque quality), and `Sex Sleep Eat Drink Dream' satirizes the ultimate pointlessness of getting stuck purely in the biological functions of human life, with nothing else really going on in your brain.

This is a mature and adventurous work with a very contemporary sound. Although distinctive from all the band's previous work, it's still recognizably KC (how does Bob Fripp keep pulling off that trick?). Its powerful energy is married to stylistic originality and delivered with the professionalism and virtuoso performances so characteristic of this band. `Thrak' is also special in that it was Bill Bruford's last recording with KC after partnering Bob Fripp for over 30 years in this unique musical project.

In response to an interviewer's question "With so many line-up changes over the years, what exactly is King Crimson?" Fripp retorted: "King Crimson is a way of doing things." As so often with this "way of doing things" the unexpected breaks through to surprise and delight us yet again.
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on 11 July 2014
good album
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on 30 December 2014
King Crimson's abrasive, dark nature is arguably beyond any other band (with the possible exceptions of Nirvana or Bauhaus), and this scary 1990s relaunch will drive the uninitiated from the room, particularly when Fripp is clearly pulling the strings. Belew's Beatles-fixation occasional shines through, on songs like the self-aware 'Dinosaur', and his melodic edge on songs like 'People' is also welcome, as the album contains moments of such brutal heaviness it's more frightening than anything on 'Red', the title track of which the top and tailing instrumentals are clearly copying.
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