On their first evening in Prague, King Crimson aren’t taking any prisoners. After a barrage of triple drumming, the massed roar of Larks’ Tongues, Pictures of Cities and Cirkus and the bulldozing Fracture, the first real let-up in the ramped-up tension of the first set comes with the Fripp-penned Interlude. While the dynamics may be considerably gentler than anything that precedes it, this pensive air has an unsettling, somewhat ambiguous quality. Sometimes, when Crimson is in the quiet zone, it can indicate that something more demonstrative is just around the corner. As Collins and Jakszyk’s duel flutes drift away, Levin’s electric double bass and Fripp’s phat low-end synth tones mark out space and time. Sure enough, it’s not too long before that uneasy sepulchral mood gives way to the radiant blast of the introduction to In The Court Of The Crimson King.