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These thoughts are presented as a companion to the recent Big Takeover review by Michael Toland.
This is not the high-octane, improv-based prog I was expecting, but this surprisingly mellow and introspective collection is crafty enough to warrant continued listening by fans of King Crimson. Robert Fripp’s playing features more of his inventive loops, drones and soundscapes than the expected fiery flashes. Crim veteran Mel Collins’ nimble soprano saxophone is well matched to the textures established by Fripp with collaborator Jakko Jakszyk. In addition to his fluid guitar, Jakszyk’s vocal on the title cut and the watery “Secrets” suit the reflective material found here, though it’s more of a blending element, without the quirky character of Crim’s Adrian Belew.
“This House” is a ghostly reflection upon better days long gone. Fripp’s guitar washes the aural canvas with hazy memories, while his thick, atonal guitar solos trade sorrowful lines with Collins’ sax.
Apparently, this project was recorded in a sequence that would conventionally be considered back-to-front. Miracles began with guitar sessions recorded between Fripp and Jakszyk. Collins added his parts next, and the rhythmic “foundation” was added on top to complete the picture. This process allows Crimson/Peter Gabriel bassist Tony Levin to underpin, color and anchor, but he’s largely a supporting character without the usual amount of opportunity to showcase his singular style. Porcupine Tree drummer Gavin Harrison, however, becomes a linchpin connecting all of the different musical moods. Harrison provides the flow to balance the ebb of rhythm-less passages during songs like “The Other Man.”
It’s an odd point of reference, but a handful of people will understand clearly: My first thought after launching the disc was “this reminds me of the break during ‘If I Had a Yard’ from the Choir‘s 1990 album Circle Slide.
