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The first thing one notices when giving A Scarcity of Miracles a spin, and the first notion one must toss aside, is that, despite being labeled a King Crimson ProjeKct, the confab of singer/guitarist Jakko Jaksyzk, guitarist Robert Fripp and saxophonist Mel Collins (joined by bassist Tony Levin and drummer Gavin Harrison) does not sound like King Crimson. Or at least not like the elements of Crimson fans have associated with the band over the last couple of decades – the aggressive improvisation, the sexual congress of melody and dissonance, the displays of instrumental firepower. Instead, the music is driven by Fripp’s lush soundscapes (though there are plenty of his patented chocolate-thick legato lines) and the mellow introspection of Jaksyzk’s solo work, with Collins’ soprano sax darting in and out of the arrangements. That’s not to say that the melodies follow adult contemporary formula or that there aren’t moments of aggression (cf. the second half of “The Other Man”). But the overall tone of Scarcity is one of meditation, looking inward to find personal truths, rather than blasting observations outward at top volume. Long, languid pieces like “The Light of Day,” “This House” and the title track unfold at their own pace, eschewing visceral impact for atmospheric presence. It’s as if the band is leaving the door open but not necessarily beckoning anyone inside – unsurprising given the insular nature of the music. Like the work of David Sylvian, No-Man or Mark Hollis, A Scarcity of Miracles requires patience and multiple exposures to truly appreciate. Check your impatience and, most importantly, expectations at the door and let the music speak for itself.
