Following the Thrak era double-trio incarnation of King Crimson the band fractalised into a variety of experimental outfits known as ‘ProjeKcts’. These temporary groups acted both as exciting improv. ensembles in their own right (recorded by DGM for a series of releases) and a form of ‘research and development’ vehicle for the next stage in King Crimson’s studio recorded output. When the band did reconvene to record, the line-up had settled to that of a quartet for the first time since 1984.

The resulting album is one of the most sustained sonic attacks in Crimson’s lengthy history. Mastelotto’s powerful drumming & sample triggering combine with Gunn’s bass flourishes to provide a dense sound world which Fripp & Belew could weave into, out of & around. While some of the song names & lyrical touches echo earlier Crimson formations (FraKctured, Larks’ Tongues IV), the resemblance ends there. The band’s knack for reinventing itself was safely carried into a new decade. Of course some things remain consistent with Crimson history. The musicianship is consistently superb, the songs quirky, the instrumentals poke into corners that other rock groups would shy away from. Crimson is, after all, a rock group first & foremost, albeit one with a history of improvisation that would rival the most dedicated jazz bands. And it is this willingness to constantly push forward with fresh musical ideas that most readily identifies a Crimson recording.

Not for the first time with King Crimson the album divided fans & critics alike when first issued in 2000. Equally, not for the first time with King Crimson, the album sounds more contemporary now than it did when initially released. Unavailable since the end of 2003 the album makes for a welcome addition to the DGM catalogue. As with the initial release the album also features a track from ProjeKct X – the non-touring experimental recording unit operated by the TCOL Crimson line-up.