“Part One” of the title track begins with three minutes of mysterious percussion, before a fuzzy guitar and frantic violin introduce the first of several demonic riffs. The violin plays alone for several minutes in the middle, accompanied only by what sounds like a pencil bouncing on the strings of either a guitar or a piano. The ever-ascending theme (like the lark, get it?) returns to obscure whispered voices for the finale. “Book Of Saturday” and “Exiles” (despite beginning with two minutes of dolphin impressions) are pretty, without being assaultive. The Mellotron is just heard in the mix, and we wait for a chorus that never arrives, instead recalling the chords from the flute solo section in “Court Of The Crimson King”.
“Easy Money” is much heavier, sporting a wordless but harmonized scat over a dirge rhythm. The song itself doesn’t really take off until the vocals stop, with Bruford and Fripp playing off each other masterfully. “The Talking Drum” likely gets its title from the hand-played percussion beneath the jam overhead, which itself takes two minutes to emerge. (Somebody else describes this as “the music you'd hear on the elevator down to hell,” and we’ll agree.) The jam intensifies into an abrupt shriek of violin, whereupon “Larks’ Tongues In Aspic, Part Two” takes over with another infectious riff, a sly variation over something hinted at in Part One, atop multiple time signatures. There’s a long sustained end major chord, played furiously over all harmonics, left for the ensemble to fade naturally.
Much of Larks’ Tongues In Aspic seesaws between the nearly silent to loud grooves, to the point where it can be hard to hear the music at all. Therefore it takes several listens, with close attention paid, for it to emerge as a musical whole, rather than what seem like random sounds. It’s not for everyone, but what is?
King Crimson Larks’ Tongues In Aspic (1973)—3½