Friday, August 21, 2009

Steven Wilson: The King Crimson remasters

Steven Wilson is keeping very busy this year. Releasing his eclectic solo album Insurgentes earlier this year and readying the release of Porcupine Tree’s tenth studio album The Incident; listen to the track “Time Flies” HERE. Also, about to land soon is the Insurgentes film, documenting Wilson’s worldwide travels when recording the record. There’s more though, the guy is still finding time to mix the new Anathema album. But of course that’s not enough for possibly the hardest working man in not just rock today, but music in general.

Wilson has taken on the task of remixing the back catalogue of legendary prog masters King Crimson. The first records to receive the SW treatment are the classic 1969 debut In The Court Of Crimson King, the opinion dividing Lizard (1970) and 1974’s Red.


The releases were all originally recorded on 8 track master tapes in stereo. Working from his home studio, Wilson endeavoured to remix the timeless albums into 5.1 Surround Sound hence creating a more vast sound. But he knew not to get carried away with himself – “Being so familiar with the originals, I aimed to be as faithful as I could”. There was also a very important factor to the remixing. None other than Robert Fripp, King Crimson’s only constant member, their guitarist and keyboardist (among other instruments) was by Wilson’s side for the process. Regarding any possible tampering, Wilson stated, “If you hear deviation from the original it's probably because Robert didn't like it the way it was and took the opportunity to change it”.

The remix for In The Court Of The Crimson King is particularly special as 2009 marks the 40th anniversary of the album. All the re-releases will be replete with previously unreleased tracks too. However, regardless of that debut’s importance SW’s preference lies in Lizard. The record is a divisive one amongst fans. But he insists, “I’m one of those that adore it, and could make a pretty good case for it being one of the most adventurous rock albums ever made” says the man at the mixing desk. “It could work in 5.1, as it’s almost as if there is too much information bursting out of the tracks to be contained in mere stereo”. Wilson continued, in 5.1 the music has more “space to breathe” and hence “the genius of Lizard’s progressive avant-garde jazz rock experiment finally blossoms in all its glorious folly”.


Needless to say these three remixes will be met with interested ears from both long time fans and newcomers.

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