After the double-trio incarnation of King Crimson in the Thrak era, the band broke up into various experimental groups known as "ProjeKcts." These temporary groups functioned both as exciting improvisational ensembles (recorded by DGM for a series of releases) and as a sort of "research and development" vehicle for the next phase of King Crimson's studio recordings. When the band reconvened to record, the lineup had settled down to a quartet for the first time since 1984. The resulting album is one of the most enduring sonic assaults in Crimson's long history. Mastelotto's powerful drumming and triggering of samples combine with Gunn's bass playing to create a dense soundscape that Fripp and Belew can weave in, out and around. Some of the song names and lyrics recall earlier Crimson formations (FraKctured, Larks' Tongues IV), but the similarity ends there. The band's talent for reinvention has certainly been carried into a new decade. Of course, some things in the Crimson story remain the same. The musicianship is consistently excellent, the songs are quirky, the instrumentals push into corners that other rock groups would shy away from. Crimson is, after all, first and foremost a rock band, albeit one with a history of improvisation that could rival the most dedicated jazz bands. And it is this willingness to constantly move forward with new musical ideas that most characterizes a Crimson recording. Not for the first time with King Crimson, the album divided fans and critics alike when it was first released in 2000. It's also not the first time King Crimson made the album sound more contemporary today than it was when it was first released. Unavailable since late 2003, the album is a welcome addition to the DGM catalog. As with the initial release, the album also includes a track from ProjeKct X - the experimental recording unit run by the TCOL Crimson lineup that was not on tour.