King Crimson: In the Wake Of Poseidon LP

Following 2010's well-received 200 gram vinyl edition of In The Court Of The Crimson King, DGM and Panegyric are proud to present the second in a series of King Crimson high quality vinyl reissues with the release of In the Wake Of Poseidon. The album’s return to the 12” vinyl format is newly cut from masters approved by Robert Fripp. Manufactured on 200 gram super-heavyweight vinyl and housed in a reprint of the original stunning gatefold sleeve, this edition also contains bonus MP3 codes giving access to a download of a transfer of an original 1970 pressing (in this case Robert Fripp’s personal file copy.)

King Crimson spent 1970 as a studio band recording a single "Catfood" and the two albums In the Wake of Poseidon and Lizard. "Catfood" was released in March, earning the band an appearance on British BBC TV flagship music show Top of the Pops. In The Wake of Poseidon followed in May. While McDonald and Giles had announced their intention to leave in December of 1969 and Greg Lake would depart in April of 1970, Giles and Lake appeared on the single and album with Peter Giles (formerly of Giles, Giles & Fripp) and incoming members Keith Tippett, Mel Collins and Gordon Haskell alongside Fripp and Sinfield. As a result, the album shares some similarities in approach and sound to their debut, In the Court of the Crimson King and has been a firm favorite among fans of the band since its initial release.

Though working with a transitional lineup the album sounds remarkably cohesive. Like the debut album, In The Wake Of Poseidon was self produced and displayed an increased confidence in the use of the recording studio. The breadth of material recorded is even broader than the debut. The short "Peace" appears in 3 different settings bookending the album’s longer tracks. One of the band’s prettiest ballads "Cadence & Cascade" leads into the powerful title track, while the album version of "Catfood" is followed by "The Devil’s Triangle," an ambitious sound collage that seems to owe more to contemporary classical and free jazz roots than any form of rock music. The short burst of “In the Court of the Crimson King” in the final part of the track eerily anticipates modern sampling techniques.