Lark's Tongues in Aspic: regarding the overall audio tapestry

[jibberish]

I want to impose on y'all to listen to this entire album to check out the tapestry fripp creates from start to finish.
I think this will help everyone who is currently creating music, just for inspiration, ideas, and many times  extensions of what you have been toying with already.


it is sort of a comp.
check out the actual lark's tongues in aspic studio album if you dug this, has part 1 and 2 on it plus some other songs some vocals, still cool, but this sequence is where it is at.


I really believe that based upon the little tidbits I have heard in almost everyone's home brew tunes, you all could possibly expand more into where this album lives with further inspiration and some different tricks and de-rrangements heh.
not much sounds like this shit, except y'all all touch it at times. crazy
everdrones recent post in the home brew thread kind of brought it all together. 


bonus: totally instrumental. vocals is only another instrument for fripp which he didn't need for this series: the way it oughta be.
he takes you for a wild ride and locks up the brakes then turns left, makes you lean in, then punches you in the throat when you are nice and close and so on.
sounds like angry classical, then maybe the first industrial music on side 2..yowsa  ...just keeps going...
like heavy creepy jazz, with the heavy creepy smashing out most of the jazz.  the underlying massive talking bass(obviously uber pro needs to do that) beneath the busy trilling shit fripp is doing shows up everywhere
and the tones of the bass, and the expression, jiminy Christmas, does it get much better? i'm still looking.

I think he has a killer ear for mastering like the recording 1 track discussion. thin tinny stuff pushed back and to a side, big bass all acroos the field low, lots of separation  position. drums are clear as a bell. really everything is clear as a bell. uses the 3-d stereo field with wet reverbs. like headphones and acid could get out of hand.

i'm whooped after that 40minutes of  hearty audio bitchslapping. it just fucking amazes me every time...

[xayk]

The Fripp/Wetton/Cross/Bruford lineup is staggering in just about everything they did. 'Red' is my favorite album of all time, and that's even with a borderline unlistenable track included.

[EddieMullet]

I slightly prefer Red over Larks Tongue, but only by a small margin.

I'd love to be able to get a bass guitar sound like that, it just kicks my ass so "not right" yet so perfect at the same time.

[jibberish]

ya, you know about that bass. just amazing.

. I actually like starless and red overall better than lark's tongues. that's why I linked this comp of only the 4 larks' tongues in aspic songs, which actually get into the adrian belew era. it was what I was hearing in everyone's songs. pieces of what they did are in these songs, to say it another way.

that's why I was looking at this as more of an advanced lesson for the composers here. everdrone was doing that big bass under the complex pattern thing which is signature king crimson. but that was the icing. before, others touched onto those types of dissonant shifting gears etc.

I mean ya, there are only 12 notes blah blah, and maybe because I have listened to so much KC those things hit me clearly.
just to listen to KC I would have recommended starless as a first intro to KC in that context

[mortlock]

larks, red and starless are quite possibly the 3 greatest albums ever..

[xayk]

What a bass tone. As legend has it, Wetton's Cerwin-Vega Reflex cabs (with Hiwatt amps) were so loud Fripp refused to put the bass through the PA during shows.