Wilson who, after first adopting the moni- ker Porcupine Tree in 1987, recruited an actual band under that name 6 years later and steered it to the point where, today, it’s at the top of its genre. For lack of an- » other name, that genre is still known as TWIN progressive rock. Call it what you will, but it’s the modern equivalent of what King Crimson trailblazed 4 decades ago. Acknowledging the link, Fripp guested on Porcupine Tree’s 2007 album, Fear of a Blank Planet. But there’s something more KINGS profound that brings the connection be- OF DIFFERENT ERAS tween these two bands, and these two men, literally full circle: surround sound. Surround mixes of classic King Crimson and After learning the basics of surround from engineer/producer Elliot Scheiner, fresh Porcupine Tree ensure that the cause of who did multichannel mixes of Porcupine multichannel music is still progressing. Tree’s In Absentia (2002) and Deadwing (2005), Wilson went on to make his own Reviewed by KEN RICHARDSON surround mixes of Planet and his solo al- bum of earlier this year, Insurgentes. Now, ucky is the person who, at work or “The Christmas Song.” Steven Wilson, as 12 months after the release of Genesis play, finds a kindred spirit. I was he now sings, “was born in ’67, the year 1970–1975 compelled me to write in this L fortunate enough to find one of Sgt. Pepper and Are You Experienced.” magazine that “it’s getting harder to find when, reading Eric Tamm’s 1990 book Rob- Which means that Wilson was in the crib something that qualifies as a genuine KE ert Fripp: From King Crimson to Guitar when Fripp began his professional music event” in the realm of music in surround, H Craft, I came across this passage about career. Which also means that, whereas we get another big one: the reissue of the nitsc the Red track “Starless”: Fripp is now 63, Wilson is only 42. first three titles in King Crimson’s 40th An- DIANA “In my opinion, it is simply the best com- Yet these two musical spirits are kin- niversary Series, namely In the Court of the , position that King Crimson ever committed dred indeed. It was composer/guitarist Crimson King (1969), Lizard (1970), and Red TREE to record. It is also the only King Crimson Fripp who, after debuting with King Crim- (1974), released here by DGM/Inner Knot. PINE piece that has ever made me weep.” son in 1969, guided the band from the ’70s Each comes in a CD+DVD package whose U rc O Closing my eyes in reverie, I thought: “At to the ’00s. And it was composer/guitarist latter platter is a DVD-Audio disc featur- P last. Someone who understands.” Robert Fripp was born in 1946, the year LEFT, King Crimson 1969 (from left): guitarist Robert Fripp, multi-instrumentalist Ian McDonald, drum- of Ethel Merman’s “There’s No Business mer Michael Giles, bassist/vocalist Greg Lake. RIGHT, Porcupine Tree 2009 (from left): drummer Gavin Like Show Business” and Nat “King” Cole’s Harrison, guitarist/vocalist Steven Wilson, bassist Colin Edwin, keyboardist Richard Barbieri. 38 DECEMBER/2009 | SOUNDANDVISIONMAG.Com FEATURES DECEMBER/09 TWIN KINGS OF DIFFERENT ERAS F ing a 6-channel version — mixed and pro- odd that this album is included in the first duced (from the original multitrack master wave of Crimson reissues in surround, tapes) by Wilson and executive-produced wait ’til you hear how Wilson has taken by Fripp. What’s more, Wilson has made a this sometimes ultra-busy, verging-on- surround mix of Porcupine Tree’s new al- free-jazz romp and given it the expanded bum, The Incident (Roadrunner). A version sound field it has always needed. Indeed, on standard DVD in DTS 5.1 was included this music is now a revelation, from the in a mail-order-only Limited Special Edition striking clarity of those acoustic guitars that sold out even before the regular on “Cirkus” to the Frank Zappa-style, all- album was first released in September as encompassing improvs in “Happy Family” a two-CD set. The mix is due to reappear and the title suite’s “Bolero: The Peacock’s in the next few months on either DVD- Tale,” where the use of surround sound be- Audio or Blu-ray Disc (via the band’s own comes not just an option but a necessity. label, Transmission). You’ll also dig the details, such as the Taken together, these four mixes show fine electric-guitar work revealed in the Wilson at the top of his surround game. left and right channels of the title suite’s And the three Crimsons prove that Fripp “Prince Rupert Awakes.” And for all of this the sonic architect has found someone album’s verve, my favorite surround pas- who truly understands. sage just might be the dirge of “Prince Rupert’s Lament” in “The Battle of Glass ertainly, when you hear the multi- Tears.” Led by the wounded march in the channel mix of Crimson’s 1969 de- front, Fripp’s trademark sustaining-guitar » but, you’ll know that Wilson un- line emanates from the rear — as if from C derstands how to enter this Court and a genuinely distant battlefield — before magnify this King. He wastes no time in moving forward, drifting to the right for audaciously using the entire surround a slow pan, and then dissolving again far soundstage: On the opening track, “21st away behind. Century Schizoid Man,” Greg Lake’s distort- Of course, verve and volume are the ed vocals claw from the center channel as watchwords of Red. That’s “volume” as in Fripp’s raw guitar chords, starting in the loudness and size — and the greatness of left rear, slash clockwise through the four both comes through magnificently in Wil- corners, with each successive punctua- son’s surround mix. Right at the start, with tion in each successive channel. the guitar chords of the title track slash- Other tracks emphasize atmosphere ing from the center, the single-line guitar over movement. The appropriately airy figure wailing from the rear, and bass- mix of “I Talk to the Wind” envelops you ist John Wetton and drummer Bill Bruford in vocal harmonies that flow from all five slamming all around, Wilson keeps the main channels. On “Epitaph,” the depth of sound so monumental that it’s nearly, of the cavernous drum hits starting at 4:18 course, in the red — as if you’re listening will remind you that DVD-Audio is not just right up against these guys in a live room. a surround sound format but also a high- Later, “Providence” does put you in an ac- resolution one. tual live Rhode Island room, yet Wilson’s By the time of the concluding title track, surround mix doesn’t just give you con- you’ll revel in the counterpoint of the rear- cert ambience; rather, you get (outgoing dwelling mellotron against other keyboard band member) David Cross’s violin in the taps in the right front (for the first instru- two right channels, Fripp in the two lefts, mental break), the flute in back vs. gui- Bruford seemingly everywhere, and Wet- tar details in the center (for the second ton putting on a bass Master Class in the break), and especially the slow, calliope- center channel. like nudges from over your shoulder (for Red is a perfect album, and if the whole the third). All the while, the acoustic guitar thing wraps up all previous Crimson styles that enters and reenters the track proves into one package while still breaking new that, far from monolithic, the music of this album is often lithe and luxurious. FROM TOP: King Crimson’s In the Court of the Acoustic guitars also figure prominent- Crimson King (1969), Lizard (1970), and Red ly in the mix of Lizard — and if it seems (1974); Porcupine Tree’s The Incident (2009).» DECEMBER/2009 | SOUNDANDVISIONMAG.Com 39 FEATURES DECEMBER/09 F TWIN KINGS OF DIFFERENT ERAS ground, then “Starless” is its microcosm. RED IS A NOISY RECORD, lent essays by King Crimson biographer And in surround, you can appreciate this Sid Smith and Fripp himself. final-track masterwork even more — espe- AND YOU’LL MARVEL AT As for video extras, there are none cially in the ostinato-led midsection, with HOW WILSON IS ABLE on Lizard, and Court has just a 2-minute bass and drums primarily in the left and TO BALANCE ITS POWER “Schizoid” excerpt from Hyde Park (mes- right front, woodblock in the center (all merizing though it is). More than making up the way through — who knew?), and that AND GLORY. for that shortfall is the March 1974 French simple but ultimately devastating guitar TV performance on Red, with Fripp, Wet- line in the four corners. ton, Bruford, and Cross scorching through Compared with that and the precise de- “Larks’ Tongues in Aspic, Part Two,” “The lineation on Court and Lizard, the brash, Night Watch,” “Lament,” and — 4 months almost bleeding sonics for parts of “Fallen before Red was recorded — “Starless.” Angel” and “One More Red Nightmare” may strike you as being a bit too raucous. But he progressive-metal passages this is an intentionally noisy record, and on Porcupine Tree’s The Incident after another listening, you’ll likely marvel Tare a direct descendant of the at how Wilson is able to balance its power heaviest moments on “Starless” and the and glory. rest of Red. In Wilson’s surround sound Still, I get the feeling that an instrumen- mix, The Incident begins with the grandeur tal version of “Fallen Angel,” mixed by Wilson of decay — as in the decay of a power as a showcase for the basic trio, has been chord that’s allowed to resonate through- included as a bonus track to highlight the out your listening room.