Analysis of information sources in references of the Wikipedia article "King Crimson" in English language version.
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[...] We were profoundly affected by King Crimson's Earthbound
There's a whole raft of other stuff that we've been drawing inspiration from though, for instance we were listening a lot to progressive and space rock while making the record, like King Crimson [...]
With the advent of guitar synthesizers and more sophisticated digital processing, Frippertronics evolved into Soundscapes
Q: Who are your musical influences?
Justin Maranga: Our influences are pretty diverse, but some are definitely more prevalent than others. I'd say that Pink Floyd and King Crimson are probably our biggest influences. [...]
Their roots lie with seminal alternative band King Crimson [...]
{{cite magazine}}: CS1 maint: deprecated archival service (link)Doug Moore: [...] We also draw on jazz and '70s prog a fair amount, especially for the improvisational side of our sound. Mahavishnu Orchestra and King Crimson are consensus favorites of ours. [...]
Q: Who would you say are Pallbearer's biggest influences?
Joseph D. Rowland: Black Sabbath, Pink Floyd, Robin Trower, King Crimson [...]
Q: Your new album, Level 2, was such an incredible album. What bands helped to influence this album and how did they do that?
Michael Lessard: King Crimson was a big influence. The way they're constantly evolving and pushing the limits rhythmically and harmonically with their music is really something else. They manage to be so abstract, yet digestible.
...I had difficulties with some of Peter's words on the subsequent Crimson albums, as he had with the music, on "In The Court" Peter's words are in a category of their own.
Q: Now you mention it, there are some fairly strong King Crimson and Yes references to be found.
Dan Briggs: Yes, that's exactly what I mean. These influences are a part of our music since the Alaska days, a good ten years ago. King Crimson is a particular big influence. We actually covered 'Three Of A Perfect Pair' in 2006. It's always been there really, but it seems to become more dominant lately. It's fun because it's a big part of our musical makeup and it's still relevant to us who we are as musicians at this point in our career.
Hal Hartley: I made a list of all the influences I could remember from the time I was 18 to the present. Here it goes: Robert Fripp and King Crimson [...]
When Nicklas, Peter and I started playing together in the middle of 1990 we played covers. The first song that we started rehearsing was "Larks' Tongues in Aspic, Part 2," the second was "Lament" and I believe that the third one was "Red." We wanted to see if we could pull off playing Crimso-songs, primarily from the Wetton-era, as this was our main source for inspiration at the time.
Oh, yeah, I love progressive rock. I'm a big fan of Robert Fripp [guitarist and founder of Sixties/Seventies progressive rock masters King Crimson—GW Ed.], and I still love a lot of his stuff. I was especially into his work with Brian Eno, on albums such as Another Green World, and I was really into King Crimson's Larks Tongues in Aspic, which is one of my all-time favorite albums. I like Red, too. Then there's the stuff he did later for his Discipline Records label. The "patterny" thing that Fripp is known for had a big influence on me.
Mike Scheidt: [...] I wouldn't say that we're a progressive rock band, but we do have some of those elements, and King Crimson is definitely a big influence on us.
{{cite web}}: CS1 maint: deprecated archival service (link)Q: J'ai toujours pensé que « Elephant Talk » de King Crimson avait servi de base au style de Primus. Qu'en penses-tu ?
Les Claypool: Je ne sais pas si cette chanson en particulier nous a servi de base pour créer Primus, mais il est clair qu'à l'époque nous étions tous fans de cette incarnation de King Crimson et Tony Levin, Adrian Belew, Robert Fripp et Bill Bruford comptaient parmi nos plus grandes influences. Tony Levin encore plus d'ailleurs, car à mon sens il est le meilleur bassiste du monde et celui qui joue avec le plus de goût !
(Q: I always thought that King Crimson's "Elephant Talk" was the basis of Primus's style. What do you think ?
Les Claypool: I do not know if this particular song served as a basis for creating Primus, but it is clear that at the time we were all fans of this incarnation of King Crimson and Tony Levin, Adrian Belew, Robert Fripp and Bill Bruford were among our greatest influences. Tony Levin even more, because in my opinion he is the best bass player in the world and the one who plays with the most taste!)
Jazz, experimental rock, metal, math-rock, industrial: under their perfectionist leader Robert Fripp, the band have pushed boundaries like few others. They are still doing so, yet the prog rock tag continues to dog them.
And it's certainly not me that precipitates these long pauses in King Crimson's career either—it's always Robert Fripp who wants to stop and have 10 years off. We do move along in a rather torturous manner.
Prasad: In June 1993, both Jerry and Trey were announced as members for what would become King Crimson's THRAK line-up. Why did you not end up in the final lineup, Jerry?
Marotta: I did the Sylvian-Fripp record The First Day with Robert in 1993 and then there was a tour for it that I didn't do. Pat Mastelotto was the drummer for that tour. I think Robert felt Pat was more suited for King Crimson than I was. I had never heard a King Crimson record back then. I wasn't a fan. I never lobbied for the position. I didn't know what to think of it. What happened is there was a conversation with Robert afterwards during which he said "Jerry, you're a fantastic drummer. You're just not the right drummer for King Crimson" and that was the end of it.
Melvin Gibbs: [...] And like I said, with Rollins Band, King Crimson was a big part of it. You could almost pick out riffs sometimes.
Q: Zeni Geva's sound is quite unique, so I wonder what were your main musical inspirations when you started the band?
KK. Null: Swans, Slayer, Art Bears, King Crimson, etc
[...] the band manages to break free of all the aural fog, as it did on the rhythmically romping "Dangerous Curves" and "The World's My Oyster Soup Kitchen Floor Wax Museum," [...]
Over the years there have been many bands and artists who have formed what we do, whether that's King Crimson [...]
Troy Sanders: [...] As far as Prog Rock goes, we all love King Crimson. Roughly ten years ago, our guitarist Brent introduced me to King Crimson. I've fallen in love with the group, and listen to their material all the time.
{{cite web}}: CS1 maint: deprecated archival service (link)Q: Dette til tross, du kan ikke nekte for å være utpreget influert av King Crimson og Robert Fripp.
Omar Rodríguez-López: Selvfølgelig ikke! Jeg gjør faktisk ingen forsøk på å skjule min affekt for Fripps arbeider. [...] ble jeg introdusert for King Crimson, og på nytt kollapset alt, men på en konstruktiv måte.
(Q: You can't deny that you're influenced by Robert Fripp and King Crimson, right?
Omar Rodríguez-López: No, of course not! I make no attempt to hide my affection for Fripps work. [...] I was introduced to King Crimson and again everything collapsed, but in a constructive way.)
[...] Robert Fripp is definitely another one who I would consider an influence.
[...] King Crimson-esque polyrhythm [...]
It's not the diddling, noodling kind of improvising often associated with jazz. This has an aggressive, muscular sound that open-minded listeners can find just as rewarding as it is challenging.
As the guitarist and leader of King Crimson — the band he founded in 1969 — Fripp, 76, has written music that's barbed, visceral, complex and ambitious, seizing the vanguard of progressive rock yet reaching a broad audience.
In the period before I was living in London, I saw King Crimson more than any other band, and they had the biggest effect on me. They were so serious. "21st Century Schizoid Man" is just get it out, put it on the table, and deal with that. The combination of heaviness, technical brilliance, and sheer bonkers arrangements was unbelievable. You don't know whether to be petrified or burst out laughing.
We kunnen hier winnen noch verliezen eigenlijk, maar deze band vormt samen met King Crimson toch wel de belangrijkste inspiratiebron. (We can win here or actually lose, but this band [Pink Floyd] together with King Crimson got to be the main source inspiration.)
Inspiration for Mudvayne came from bands such as Emperor, King Crimson and Porcupine Tree, McDonough said.
{{cite news}}: CS1 maint: deprecated archival service (link){{cite magazine}}: CS1 maint: deprecated archival service (link)Sinfield: ...any ruler who presided over an intense period of learning, yearning and burning and apparently benificial [sic] progress (HA) towards the elevation of mankind - Since Fred2 is a such a suitable archytype for said societal rumblings (allegoricaly speaking) -It would be churlish of me to quibble!
Green: Judging from your response to Jon Swinghammer, you consciously conceived the Crimson King as a composite of several historical figures.
Sinfield:"Ok - It was that ... and a game of archetypes, symbols, and purposefully 'vulgar' colours. (The Magus/Gormenghast/The Lord of the Rings/The Prince/The Hidden Persuaders, some Heinlein...) It may amuse /confuse you to know that I wrote the whole song words and v. dodgy "Dylanesque" tune many months before I became with involved GG&F who became King Crimson.
Keeling: Is the name King Crimson really a synonym for Beelzebub?
Sinfield: Despite the possibility that I may have flippantly (an 'r' is optional) have stated it to be so... it is not. Granted that the name was taken from In the Court of the Crimson King in a moment of pressured panic.
Brann Dailor: We are influenced by lots of different things, kinds of music, life experiences. Our common ground musically is Neurosis and Melvins and Thin Lizzy, but there's lots of stuff, old thrash, 70 prog rock, King Crimson [...]
[...] In contrast, De-Loused skips Tribute's Faith No More worship and leaps straight to King Crimson (their most important influence — more on this later).
Robin Staps: Crimson has always been an influence for me since I started this band at the turn of the millennium. [...]
Q: Which artists do you take inspiration from?
Blaine Harrison: Pink Floyd and King Crimson are major influences.
[...] the 80s King Crimson records (Discipline, Beat & Three of a perfect Pair) were also a reference point for us.
Blake Richardson: King Crimson [is an influence,] of course. Maybe not so much musically but rhythmically there is a lot of stuff I try to emulate that they do.
Chris Haskett: [...] the biggest ones that influenced the playing I did in the Rollins Band would have to be the "Red/Starless & Bible Black/Lark's Tongue"-era King Crimson work of Fripp [...]
In his 1997 book Rocking the Classics, critic/musicologist Edward Macan noted that In the Court of the Crimson King "may be the most influential progressive rock album ever released"
Q: Do you think you'll ever leave that soul music chamber?
Adrian Younge: Never! Oddly enough, I plan to commence work on more psychedelic rock records; however, the psychedelic rock I'm inspired by has a lot of soul like King Crimson, Iron Butterfly, Bo Hansson, etc.
In his 1997 book Rocking the Classics, critic/musicologist Edward Macan noted that In the Court of the Crimson King "may be the most influential progressive rock album ever released"
Sinfield: ...any ruler who presided over an intense period of learning, yearning and burning and apparently benificial [sic] progress (HA) towards the elevation of mankind - Since Fred2 is a such a suitable archytype for said societal rumblings (allegoricaly speaking) -It would be churlish of me to quibble!
Green: Judging from your response to Jon Swinghammer, you consciously conceived the Crimson King as a composite of several historical figures.
Sinfield:"Ok - It was that ... and a game of archetypes, symbols, and purposefully 'vulgar' colours. (The Magus/Gormenghast/The Lord of the Rings/The Prince/The Hidden Persuaders, some Heinlein...) It may amuse /confuse you to know that I wrote the whole song words and v. dodgy "Dylanesque" tune many months before I became with involved GG&F who became King Crimson.
Keeling: Is the name King Crimson really a synonym for Beelzebub?
Sinfield: Despite the possibility that I may have flippantly (an 'r' is optional) have stated it to be so... it is not. Granted that the name was taken from In the Court of the Crimson King in a moment of pressured panic.
...I had difficulties with some of Peter's words on the subsequent Crimson albums, as he had with the music, on "In The Court" Peter's words are in a category of their own.
And it's certainly not me that precipitates these long pauses in King Crimson's career either—it's always Robert Fripp who wants to stop and have 10 years off. We do move along in a rather torturous manner.
Prasad: In June 1993, both Jerry and Trey were announced as members for what would become King Crimson's THRAK line-up. Why did you not end up in the final lineup, Jerry?
Marotta: I did the Sylvian-Fripp record The First Day with Robert in 1993 and then there was a tour for it that I didn't do. Pat Mastelotto was the drummer for that tour. I think Robert felt Pat was more suited for King Crimson than I was. I had never heard a King Crimson record back then. I wasn't a fan. I never lobbied for the position. I didn't know what to think of it. What happened is there was a conversation with Robert afterwards during which he said "Jerry, you're a fantastic drummer. You're just not the right drummer for King Crimson" and that was the end of it.
{{cite magazine}}: CS1 maint: bot: original URL status unknown (link)With the advent of guitar synthesizers and more sophisticated digital processing, Frippertronics evolved into Soundscapes
[...] the band manages to break free of all the aural fog, as it did on the rhythmically romping "Dangerous Curves" and "The World's My Oyster Soup Kitchen Floor Wax Museum," [...]
[...] King Crimson-esque polyrhythm [...]
It's not the diddling, noodling kind of improvising often associated with jazz. This has an aggressive, muscular sound that open-minded listeners can find just as rewarding as it is challenging.
Their roots lie with seminal alternative band King Crimson [...]
Q: Dette til tross, du kan ikke nekte for å være utpreget influert av King Crimson og Robert Fripp.
Omar Rodríguez-López: Selvfølgelig ikke! Jeg gjør faktisk ingen forsøk på å skjule min affekt for Fripps arbeider. [...] ble jeg introdusert for King Crimson, og på nytt kollapset alt, men på en konstruktiv måte.
(Q: You can't deny that you're influenced by Robert Fripp and King Crimson, right?
Omar Rodríguez-López: No, of course not! I make no attempt to hide my affection for Fripps work. [...] I was introduced to King Crimson and again everything collapsed, but in a constructive way.)
[...] In contrast, De-Loused skips Tribute's Faith No More worship and leaps straight to King Crimson (their most important influence — more on this later).
Q: J'ai toujours pensé que « Elephant Talk » de King Crimson avait servi de base au style de Primus. Qu'en penses-tu ?
Les Claypool: Je ne sais pas si cette chanson en particulier nous a servi de base pour créer Primus, mais il est clair qu'à l'époque nous étions tous fans de cette incarnation de King Crimson et Tony Levin, Adrian Belew, Robert Fripp et Bill Bruford comptaient parmi nos plus grandes influences. Tony Levin encore plus d'ailleurs, car à mon sens il est le meilleur bassiste du monde et celui qui joue avec le plus de goût !
(Q: I always thought that King Crimson's "Elephant Talk" was the basis of Primus's style. What do you think ?
Les Claypool: I do not know if this particular song served as a basis for creating Primus, but it is clear that at the time we were all fans of this incarnation of King Crimson and Tony Levin, Adrian Belew, Robert Fripp and Bill Bruford were among our greatest influences. Tony Levin even more, because in my opinion he is the best bass player in the world and the one who plays with the most taste!)
Q: Which artists do you take inspiration from?
Blaine Harrison: Pink Floyd and King Crimson are major influences.
Over the years there have been many bands and artists who have formed what we do, whether that's King Crimson [...]
There's a whole raft of other stuff that we've been drawing inspiration from though, for instance we were listening a lot to progressive and space rock while making the record, like King Crimson [...]
Oh, yeah, I love progressive rock. I'm a big fan of Robert Fripp [guitarist and founder of Sixties/Seventies progressive rock masters King Crimson—GW Ed.], and I still love a lot of his stuff. I was especially into his work with Brian Eno, on albums such as Another Green World, and I was really into King Crimson's Larks Tongues in Aspic, which is one of my all-time favorite albums. I like Red, too. Then there's the stuff he did later for his Discipline Records label. The "patterny" thing that Fripp is known for had a big influence on me.
When Nicklas, Peter and I started playing together in the middle of 1990 we played covers. The first song that we started rehearsing was "Larks' Tongues in Aspic, Part 2," the second was "Lament" and I believe that the third one was "Red." We wanted to see if we could pull off playing Crimso-songs, primarily from the Wetton-era, as this was our main source for inspiration at the time.
We kunnen hier winnen noch verliezen eigenlijk, maar deze band vormt samen met King Crimson toch wel de belangrijkste inspiratiebron. (We can win here or actually lose, but this band [Pink Floyd] together with King Crimson got to be the main source inspiration.)
In the period before I was living in London, I saw King Crimson more than any other band, and they had the biggest effect on me. They were so serious. "21st Century Schizoid Man" is just get it out, put it on the table, and deal with that. The combination of heaviness, technical brilliance, and sheer bonkers arrangements was unbelievable. You don't know whether to be petrified or burst out laughing.
Melvin Gibbs: [...] And like I said, with Rollins Band, King Crimson was a big part of it. You could almost pick out riffs sometimes.
Chris Haskett: [...] the biggest ones that influenced the playing I did in the Rollins Band would have to be the "Red/Starless & Bible Black/Lark's Tongue"-era King Crimson work of Fripp [...]
[...] Robert Fripp is definitely another one who I would consider an influence.
Troy Sanders: [...] As far as Prog Rock goes, we all love King Crimson. Roughly ten years ago, our guitarist Brent introduced me to King Crimson. I've fallen in love with the group, and listen to their material all the time.
Brann Dailor: We are influenced by lots of different things, kinds of music, life experiences. Our common ground musically is Neurosis and Melvins and Thin Lizzy, but there's lots of stuff, old thrash, 70 prog rock, King Crimson [...]
Q: Now you mention it, there are some fairly strong King Crimson and Yes references to be found.
Dan Briggs: Yes, that's exactly what I mean. These influences are a part of our music since the Alaska days, a good ten years ago. King Crimson is a particular big influence. We actually covered 'Three Of A Perfect Pair' in 2006. It's always been there really, but it seems to become more dominant lately. It's fun because it's a big part of our musical makeup and it's still relevant to us who we are as musicians at this point in our career.
Blake Richardson: King Crimson [is an influence,] of course. Maybe not so much musically but rhythmically there is a lot of stuff I try to emulate that they do.
[...] the 80s King Crimson records (Discipline, Beat & Three of a perfect Pair) were also a reference point for us.
Robin Staps: Crimson has always been an influence for me since I started this band at the turn of the millennium. [...]
Q: Your new album, Level 2, was such an incredible album. What bands helped to influence this album and how did they do that?
Michael Lessard: King Crimson was a big influence. The way they're constantly evolving and pushing the limits rhythmically and harmonically with their music is really something else. They manage to be so abstract, yet digestible.
Mike Scheidt: [...] I wouldn't say that we're a progressive rock band, but we do have some of those elements, and King Crimson is definitely a big influence on us.
Doug Moore: [...] We also draw on jazz and '70s prog a fair amount, especially for the improvisational side of our sound. Mahavishnu Orchestra and King Crimson are consensus favorites of ours. [...]
Q: Who would you say are Pallbearer's biggest influences?
Joseph D. Rowland: Black Sabbath, Pink Floyd, Robin Trower, King Crimson [...]
Q: Zeni Geva's sound is quite unique, so I wonder what were your main musical inspirations when you started the band?
KK. Null: Swans, Slayer, Art Bears, King Crimson, etc
Q: Who are your musical influences?
Justin Maranga: Our influences are pretty diverse, but some are definitely more prevalent than others. I'd say that Pink Floyd and King Crimson are probably our biggest influences. [...]
[...] We were profoundly affected by King Crimson's Earthbound
Q: Do you think you'll ever leave that soul music chamber?
Adrian Younge: Never! Oddly enough, I plan to commence work on more psychedelic rock records; however, the psychedelic rock I'm inspired by has a lot of soul like King Crimson, Iron Butterfly, Bo Hansson, etc.
Hal Hartley: I made a list of all the influences I could remember from the time I was 18 to the present. Here it goes: Robert Fripp and King Crimson [...]
As the guitarist and leader of King Crimson — the band he founded in 1969 — Fripp, 76, has written music that's barbed, visceral, complex and ambitious, seizing the vanguard of progressive rock yet reaching a broad audience.