on life, music etc beyond mainstream



Weird and awesome. „Mana“ Michael and his old friend Olaf experienced the Band aka the „thrak-attack“  „im Dortmunder Westfalenpark“ – they were, let’s stick to the truth, blown away. It is totally satifying to get your hands on the „simple“ cd-dvd-audio version only, with hi-res amd 5:1-mixes of the core material – the big box is for KC-hardcore fans and collectors. Or simply For people who  like to do crazy things from time to time. 



THRAK BOX content:
CD 1: JurassiKc THRAK, alternate takes and unrealeased tracks from THRAK.
CD 2: Max VROOOM, the long-unavailable mini-album VROOOM, augmented with tracks & edits from the KC Club release: The VROOOM Sessions
CD 3: THRAK 2002 remaster
CD 5: 2015 Jakko Jakszyk/Robert Fripp THRAK remix
CD 6: Byte Size THRAK, compilation of singles edits, live tracks from promos, a 12″ mix edit
CDs 7/8: Kcensington THRAK, new mix of London 1995 concerts
CDs 9/10: New YorKc THRAK, complete setlist from the 1995 NYC shows
CDs 11/12: AzteKc THRAK, complete setlist from 1996 Mexico City concerts
Blu-Ray 1: Hi-res audio-only disc, featuring Surround Sound (and Hi-Res stereo) mixes of THRAK, ATTAKcATHRAK & Kcensington THRAK and Hi-Res stereo versions of JurassiKc THRAK, THRAKaTTAK and the official live Argentina bootleg B’Boom.
Blu-Ray 2: 1995 San Francisco concert at The Warfield Theatre (Hi Definition and 5.1 Surround Sound), Tony Levin’s Road Movies (Hi Definition and Surround Sound), Making of THRAK EPK video (Surround Sound)
DVD-A 1: THRAK (5.1 Surround Sound and Hi Res stereo mixes of 2015 Jakszyk/Fripp remix), 2002 master of the original stereo mix.
DVD 1: 1995 San Francisco concert at The Warfield Theatre Concert, Tony Levin’s Road Movies


This entry was posted on Mittwoch, 23. September 2015 and is filed under "Blog". You can follow any responses to this entry with RSS 2.0. Both comments and pings are currently closed.


  1. Michael Engelbrecht:

    Das ist typisch Robert Fripp. Ein Komplettist. Tatsächlich liebe ich sowohl die hochauflösenden Mixe der grossen King Crimson-Alben (man hört den Unterschied!) als auch die Surround-Mischungen. Die sind durch die Bank hervorragend, durchdacht und keinesfalls einfach nur verspielte Technologie.

    Beu 5 Klangquellen erlebt man logischerweise mehr Detailfülle, natürlich wird jeder Realismus einer Konzertdarbietung aufgehoben, aber das ist eh allemal bei unendlich vielen Studioproduktionen der Fall, zum Zeitpunkt der Abmischung, und schon zuvor.

  2. J.M. Olszanicky:

    When the 8th generation of King Crimson trundled onto stage left in 1981, it was commonly thought that by the time that year’s album Discipline drew to a close, you’d be reading about the 9th generation in the music tabloids the next day. Maybe you’d even be applying for an ad in the same journal advertised by lead guitarist Robert Fripp, asking for anyone to fill the necessary position.

    But for some strange, almost backward reason, the King Crimson quartet, including (at this stage) Tony Levin, Adrian Belew, Bill Bruford, managed to stick together for a whole three albums. It must have seemed too good to be true for poor Fripp, who up until that point served not only as the lead musician, but also the communicator, instigator and negotiator, and only surviving original member.

    The new founded continuity was certainly welcome, and ultimately assisted in fashioning their new-wave/prog-experimental fusion during the 80s. 1984’s Three of a Perfect Pair was to be their last in the busy decade however, after the group settled unreservedly for the hiatus position. THRAK came about only ten years later, after its playful precursor EP VROOM in 1994, which would later serve as the main source of influence for their new material.

    None better is this influence represented by the opening track itself is “Vroom”. Offering a taste palette of what you are likely to hear on the recording, Vroom isn’t radically far away from the genuine KC sound, utilising discordant lead guitar and quirky-bounce bass lines.

    Even though it would have seemed logical to keep the efficient 80s line-up starkly intact, Fripp’s tinkering hands added Trey Gunn and Pat Mastelotto (Mr. Mister) to the table, thus creating what’s most commonly referred to as the ‘double trio’. The task of capturing these two forces effectively was left to producer David Bottrill (Peter Gabriel/Tool).

    By separating each trio at either channel, or fusing them together, Bottrill creates time spent between either friendly sonic conflicts, or mounting escapades as each of the groups coalesce. The idea while not so unique in itself, is probably one of the best representations of what two super-minds (in this case each trio) can create in a seemingly impossible realm of keeping within the respectable lines of synchronicity.

    Many of the tracks presented utilise this form of engagement such as “B’boom”, a battle between drummers Mastelotto and Bruford, and the earlier “Coda: Marine 475”, a cyclic chromatic decent between the trios’ melodic members.

    While later on the “Thrak” tune itself sounds like it went on to influence Tool during Ænima with its highly syncopated dance, the flipside also shows many opportunities for easy digestion.

    The plodding rhythms of “Dinosaur” act rather literally to the topic at hand given by Belew’s slurred shrieking. He tones down the quintessential slurred vocal during the near-pop single“People” and then regurgitates it later during “Sex Sleep Eat Drink Dream” behind rhythmical synth-blues.

    The recording isn’t without its more introspective moments, witnessed best in “One Time” and “Walking on Air” where both Levin and Gunn showcase immaculacy for the warmth of the Chapman Stick

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