If we consider like an age the incarnation still with Trey Gunn, without Bruford and Levin, we can tell about their two last works in studio.
The power to Believe is heaviest that The ConstruKction of Light. In general have the brand of King Crimson. The Soundscapes takes leadership in almost all the CD, and more in the theme Dangerous Curves. A leadership that become to these guitar effects as a mellotron in their first albums from de 70's.
King Crimson is going ahead, renewing with the pass of time. In their concerts they play mostly the last songs.

The Power to Believe is an album by the band King Crimson released in 2003, a companion to the preceding mini-album Happy With What You Have to Be Happy With (2002).

Alternative versions of "Eyes Wide Open," "The Power to Believe II" and "Happy With What You Have to Be Happy With" can be found on the Happy With What You Have to Be Happy With EP.

Without instruments, only the voice of Belew sampled singing in hight musical tone.

Guitars to the unison walking by an arpeggio obsessive very to taste of Fripp. Notes that are moving rising tones and semitones to lead to a waterfall guitar which takes the initial tune or leads to a change of rhythm. Theme hard toward the second half where the guitar and bass hit with a scale quickly and blunt. A style very defined in this quartet of musicians.

The theme soft of the CD. A surprising and masterly change of tune at the beginning of the theme when it enters the voice of Belew. A guitar, which I sense is that of Robert Fripp, he mark a solo under a pleasant sound effect. Good melody.

With a puerile introduction to basis of notes of lullaby transport us to an environment rhythmic led by two guitars crossing arpeggios purest King Crimson years 80. A theme that can go unnoticed but that advise a second review.

The sound of the guitar Fripp is in this item, the closest to the 70's accompanying the torn voice of Belew is about to Prozac Blues. Theme hard and blunt in their sentences percussion but digestible, or that i think.

This item may well be a updated revision of the Talking Drum of 73. A sample of what is to make music with no time or style defined. The guitar Fripp walks by scales in the fifth increased conferred upon him a islamic air already used in other occasions: Sartori in Tanger, The Talking Drum... Some elegant percussions that transport us to the era of Jamie Muir. In short, for me, a piece masterful although the singular guitar of Robert Fripp did not go beyond the score.

This is the theme that we cuold listen in RNE 3 when it was about to come out the disk in Spain. To The beat of 6 x 4 instruments moving in a crescendo led by a pace set by the kick of the drums accompanying the percussive note of a guitar. Some Soundscapes that here sound like the Mellotrón of In the wake of Poseidon. Are these Soundscapes that give climate on the piece supported by a repetitive note that in a percussive mode moves from one tone to another according to the compas. Simply great.

After to let play this theme in my house to the volume usually, high, my daughter of eight years old entered the room and told me that "this music was beautiful". I do not know how to interpret this. What is a sign of maturity and that, because my insistence already is able to appreciate something like this item? Or on the contrary should I take her to the psychologist to address what may be the principle of any deformation of the thought?..
A hard theme with an strange title.

Return to the simple notes performed by the voice by Adrian Belew, this time accompanied by the group that among all become the theme in something hard to digest. Aggressive and unexpected percussions under some Soundscapes creating climates of chaos and horror as the improvisations of their old concerts of the 73-74. Don't forget that King Crimson is King Crimson forever.

Jordi Oliver