Warthur
After the end of the Islands tour, Robert Fripp was once again left with the task of reconstructing King Crimson's lineup from scratch. However, rather than continue down the path of trying to produce a symphonic followup worthy of In the Court of the Crimson King, Fripp took the more daring approach: he wouldn't just create a new lineup, he'd break down and rebuild what it meant to be King Crimson from the ground up.
In the Court of the Crimson King kickstarted a new genre of progressive rock and was immediately embraced by the prog community, who soon took its lessons to heart. Larks' Tongues In Aspic comes up with its own genre yet again, and decades later the rest of the prog world still hasn't caught up to it, except for perhaps a few bands right on the cutting edge of Heavy Prog or math rock/post-rock. With angular rhythms, avant-garde percussion, Bill Bruford unleashed to try out jazzy chops that had been suppressed in Yes, John Wetton providing the best vocals and basswork on a King Crimson album since Greg Lake left, David Cross adding a plaintive and enigmatic violin to the proceedings, and Fripp laying down some of the angriest and heaviest riffs seen on a rock album to date, the album introduces the mid-1970s Crimson lineup (around the rock-solid core of Wetton, Fripp and Bruford) with a true tour de force.
Easily the best King Crimson album since their debut, this is the album which reinvented the band, and in doing so reinvented rock music altogether, and it still yields secrets with repeated listens to this day. If you only like symphonic prog and have no love for the heavier, more avant-garde, or even (dare I say it) RIO-ish end of prog, maybe this isn't for you, but otherwise if you like King Crimson, you need this album. Like In the Court of the Crimson King and Discipline, it's one of the key puzzle pieces that's essential to putting the picture together; if you don't taste the Aspic, you don't know King Crimson.