King Crimson - "Islands" (1971); Thoughts?

Fripp's creature still changes skin, and produces another epochal album, which marks the story, the third in three years (Poseidon was not remarkable). Fripp changes the singer (out Haskell, inside Boz Burrell, voice with a similar tone but more beautiful timbre and better sensitivity) and the drummer (out the talented overflowing jazzman McCulloch, inside the sober, talented Ian Wallace), holds Sinfield to the lyrics, Mel Collins on flute and saxophone, and produces an album where he is the author of all the music. This is Fripp's record more than any other Crimson's record. 

The Lp starts with the double bass (Harry Miller) and the flute, which depict an impressionist painting ("Formentera Lady", ten minutes, vote 7,5/8) that already tends towards the abstract: a slow progression almost free-folk introduces the whispered voice of Burrell; after three minutes arrives the bass and percussion and Burrell sings: "Formentera Lady", a sort of slow-motion refrain. Then the flute and 

the double bass return for a while, then the "Formentera Lady" refrain again; after that, comes the saxophone, which in dissonance, with percussive and lyrical background, climbs into landscapes never heard before. Lizard's liquid jazz seems light years away. Here we are on the edge of  avant-garde. The song fades into the next ("The Sailor Tale", seven and a half minutes, vote 8+); it has a jazzy rhythm 

and an oblique, menacing sound, with Fripp's guitar that anticipates the abrasive sound of "Larks Tongue in Aspic". We move in ever more abstract forms, in astral landscapes like the photo of the cover, where the voice is only an occasional appearance, a sign of life inside a mysterious cosmos. The song is as beautiful as it is demanding. The melody is completely absent. The only elements are rhythm, and dissonance. By spreading more and more the development of the songs, Fripp anticipates the post-rock in slow-motion of  

"Talk Talk": the music will have to overcome a strong inertia to move forward. The listener is in awe, he can't relax, he feels approaching something looming, mysterious, formless that with the passage of time becomes more and more looming but remains formless. It's like being inside a completely dark tunnel where light never comes. In the third song ("The Letter's", four and a half minutes, vote 7,5) the voice of Burrell returns, always whispered (what Haskell could not do), accompanied by the saxophone, which remains the main instrument of the album. The track is hard, solid, angular, quite the opposite of the liquid and soft consistency of "Lizard" (in fact in the whole Lp the piano, played by Tippet, is almost missing). End of first side.

Side B continues the angular and rocky sound of the last song, with "Ladies of The Road" (five and a half minutes, vote 8), which takes on a sarcastic tone already heard in the two previous albums. The arrangements are thin, the guitar of Fripp proposes that oblique and abrasive sound never heard in previous records. The song leaves room for some melodic chorus reminiscent of the Beatles (it's 

inspired by "Come Together", written by Lennon). Mel Collins's saxophone, never so much protagonist , closes the song (it's the only piece on the album that looks like a real conventional song) with a virtuosistic solo. It follows an instrumental symphonic piece ("Song of the Gulls", vote 7,5), almost angelic, which breaks the homogeneity of the album, but arrived at this point, perhaps it is good. Fripp 

inserts an atmosphere worthy of Bach, almost eighteenth century, as if to recover the melody so far lost. The piece with the oboes (Robin Miller) is particularly beautiful.

The record ends in a romantic way because after the symphonic and calm "Song of the Gulls" comes "Islands" (twelve minutes, vote 8; but there is an hidden symphonic track after a minute of silence), an atmospheric piece, where you can finally hear the beautiful voice of Burrel singing here with taste, without whispering, and you can finally hear the piano played by Tippet! The melody is beautiful, but not very developed, it remains an evocation and perhaps the arrangement, in this case, is lacking. To enhance a melody that touches epic vertices like this one, it would take a more consistent arrangement and a greater rhythm. Who knows what a masterpiece would become this song with McDonald on keyboards and Lake on lead vocals! Anyway, "Islands" is the final worthy of this great album thanks to the instrumental progression led by Mel Collins, which is the real factotum of the Lp: Fripp is the composer, he is the 

main performer.

"Islands" is an austere, sober, dissonant, timeless album, completely out of every classification. It requires a different listening from the one reserved for rock songs, because it has no rhythm, it proceeds by expanding every passage of sound. "Islands" is not dated at all, in fact is a seminal album because it has free-folk, free-jazz, avant-garde, post-rock moments. Masterpiece. 

Medium quality of the songs: 7,83.  

Vote album: 9.  

Five Stars.