Kim Thanh đây
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Sunday 24 August 2025 05:02:38 GMT
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![repost from @slash repost from @thelegendsofmusic King Crimson performing “Indiscipline” Live on the 18th of March, 1982 on the Old Grey Whistle Test When Robert Fripp reformed King Crimson in 1981, he wasn’t interested in nostalgia. Discipline was not a continuation of the symphonic prog of In the Court of the Crimson King or the ferocity of Red. Instead, it was a rebirth. With Adrian Belew, Tony Levin, and Bill Bruford, Fripp built a new Crimson that blended rock, minimalism, world rhythms, and avant-garde sensibilities into something utterly distinct. The album is defined by precision and interlocking structures. Fripp’s “gamelan-style” guitar lines, played in cyclical patterns, weave against Belew’s elastic, often chaotic tones. Levin’s Chapman Stick gave the music a foundation that could shift between percussive attack and melodic resonance, while Bruford abandoned traditional rock drumming in favor of polyrhythms and electronic textures. Highlights like Frame by Frame and Discipline are exercises in controlled complexity, while Matte Kudasai offers a rare moment of vulnerability. Thela Hun Ginjeet, born from Belew’s real-life street encounter with muggers, injects paranoia into angular funk rhythms, proof of the band’s ability to merge chaos into discipline. The legacy of Discipline lies in its refusal to conform to progressive rock’s past. It anticipated math rock, post rock, and experimental alternative music, while proving that reinvention is the truest form of progress. This was King Crimson not as a museum piece, but as a living organism unpredictable, exacting, and endlessly modern. #Music #ProgressiveRock #KingCrimson #RobertFripp #AdrianBelew #TonyLevin #BillBruford iiii]; )'](/video/cover/7541602457906941198.webp)
