Enlighten me about KC´s "Moonchild"

Ok, i have to say that i am a fan of almost everything King Crimson did in 70´s. But there is one piece of them that i ve never understood: In "Moonchild" we have that beautiful and melodic part at the beginning and then 5 of 7 minutes (i dont know for sure) of instrumental improvisation, with minimal arrangements and crafts.

So, whats the purpose of that improvisation part in your opinion for the music? I ask you in the hope that i didnt "get it" because there is some inner musical explanation, since i am lay in music theory...

thellama73 wrote: I don't know that there is some deep meaning in it. I was puzzled by it as well at first, but over time I have come to really like it. I think you have to view it in context of the whole album. We need that 5 or 7 minutes of very quiet, almost ambient noodling to bridge the intensity of Epitaph and the title track. Otherwise it would just be too much. I suggest you turn up your speaks and really listen to what they are doing, and I think you will find beauty there.

Yes, the sort of "bridge" that this piece can assume is interesting. But at first i just heard little "noises" in that, then i tried to listen it in a "visual" perspective: as if it was a narrative of some sort of "trip". However, i will try to listen to it as you suggests: trying to listen all the instruments, maybe imagining they playing the instruments. Thx.

I just skip it each time. Consider me an unenlightened drone - I'll take my hooks instead. But this is coming from the guy that'd skip all of Lizard and Island, too. (and half of Wake of Poseidon).

Henry Plainview wrote: Cert1fied has a somewhat infamous wall of text about it.

Interesting Review, I ve never listen to the instrumental section as a kind of "mirror" for the lyrics:


"Then we have the instrumental section, which continues this expression - it seems a bit pointless to map it all out, but the first section appears to represent the rippling waters of the river - the willow, of course, will be on the river bank, and the slightly sinister edge that the music acquires could be expressing this.

We continue in the branches of the trees, "talking of the cobweb strange" - 5:28 might be expressing this, with tiny strands of melodic runs that pick up from each other. Just re-read the lyrics as this section plays out - it's not too hard to make your own mind up about what's being expressed."

Edited by desistindo - October 20 2011 at 12:58

There's no meaning to it, just like an abstract painting in an exhibition doesn't need to have a certain meaning to justify it being abstract.

Maybe Fripp just makes whatever music he feels like, regardless of what you think about it?

I don't mind it at all, it's part of the song that they intended to be part of the song.  If you bother to look, some of the pieces have subdivision titles.  The important thing to know is was it The Dream or was it The Illusion?

The album was experimental and not all experiments have the results you'd like.  If there has to be a purpose to it then this you must understand: having no purpose was its purpose.

But for all you people care I might as well be talking to the wind or something.

Andyman1125 wrote: Triceratopsoil wrote: Maybe Fripp just makes whatever music he feels like, regardless of what you think about it? Fripp just does whatever the hell he likes, regardless of what you think about it.

Edited by Slartibartfast - October 20 2011 at 19:15

Andyman1125 wrote: Triceratopsoil wrote: Maybe Fripp just makes whatever music he feels like, regardless of what you think about it? Fripp just does whatever the hell he likes, regardless of what you think about it.

AtomicCrimsonRush wrote: Andyman1125 wrote: Triceratopsoil wrote: Maybe Fripp just makes whatever music he feels like, regardless of what you think about it? Fripp just does whatever the hell he likes, regardless of what you think about it. I believe that Fripp just does what he chooses, and in this case is no different to other artists out there.

I'm sure I remember on the BBC's "prog britannia" program Pete Sinfield and others were discussing KC's early live shows in which they would have long extended jams which gradually got quieter and quieter and more minimalistic.