Four members of the previous sextet reunited in 2000 as a more industrial-oriented King Crimson, called the "double duo", releasing The Construkction of Light (2000) and The Power to Believe (2003). This group participated in another three-year cycle of activity that included the release of Thrak (1995), and multiple concert recordings. Following a decade-long hiatus, Fripp revived the group as a sextet he called the "double trio" in 1994 adding Pat Mastelotto and Trey Gunn. This group lasted three years, resulting in the trio of albums Discipline (1981), Beat (1982) and Three of a Perfect Pair (1984). They drew influence from African music, gamelan, post-punk and New York minimalism. The new group also included Adrian Belew and Tony Levin. In 1981, Fripp and Bruford reformed King Crimson with another change in musical direction. With Bill Bruford, John Wetton, David Cross and, briefly, Jamie Muir, they reached what some saw as a creative peak on Larks' Tongues in Aspic (1973), Starless and Bible Black (1974), and Red (1974). In 1972, Fripp changed the group's instrumentation and approach, drawing from European free improvisation, and developing ever more complex compositions. Following the sudden simultaneous departures of McDonald and Giles, with Lake also leaving very shortly afterwards, Fripp and Sinfield assumed direction of the group for In the Wake of Poseidon (1970), Lizard (1970), and Islands (1971) with Mel Collins, Boz Burrell and Ian Wallace among the band members during this period. Their debut album, In the Court of the Crimson King (1969), remains their most commercially successful and influential release, with a potent mixture of jazz, classical and experimental music. Founded by Robert Fripp, Michael Giles, Greg Lake, Ian McDonald and lyricist Peter Sinfield, the band initially focused on a dramatic sound layered with Mellotron, McDonald's saxophone and flute, and Lake's powerful lead vocals.
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