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''Beat'', released in 1982, is the ninth studio album by English ProgressiveRock group Music/KingCrimson. The second album in the Incline to 1984, the band's trilogy of NewWaveMusic records, the album stands out as the first in the band's discography to feature the exact same lineup as its predecessor, with the entire "Gamelan Trio" configuration on ''Music/{{Discipline}}'' reprising their roles here. As such, the album carries over most (if not all) of the elements that defined the group's 1981 comeback album, though orients them in a slightly more accessible direction this time around.
to:
''Beat'', released in 1982, 1982 through EG Records in the UK and in conjunction with Creator/WarnerBrosRecords in the US, is the ninth studio album by English ProgressiveRock group Music/KingCrimson. The second album in the Incline to 1984, the band's trilogy of NewWaveMusic records, the album stands out as the first in the band's discography to feature the exact same lineup as its predecessor, with the entire "Gamelan Trio" configuration on ''Music/{{Discipline}}'' reprising their roles here. As such, the album carries over most (if not all) of the elements that defined the group's 1981 comeback album, though orients them in a slightly more accessible direction this time around.
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Deleted line(s) 37,40 (click to see context) :
* CallBack:
** The album cover directly nods back to that of ''Music/{{Discipline}}'', replacing the Celtic knotwork with an eighth note.
** "Neal and Jack and Me" reprises the technique used on both "Frame by Frame" and "Discipline" where Fripp and Belew's guitars weave in and out of sync with one another.
** The Frippertronics piece that forms the intro of "Neurotica" is directly lifted from "Hååden Two" off of Robert Fripp's debut solo album ''Exposure''.
** The album cover directly nods back to that of ''Music/{{Discipline}}'', replacing the Celtic knotwork with an eighth note.
** "Neal and Jack and Me" reprises the technique used on both "Frame by Frame" and "Discipline" where Fripp and Belew's guitars weave in and out of sync with one another.
** The Frippertronics piece that forms the intro of "Neurotica" is directly lifted from "Hååden Two" off of Robert Fripp's debut solo album ''Exposure''.
Changed line(s) 55 (click to see context) from:
* PunBasedTitle: "Neurotica" is a portmanteau of "neurotic" and "erotica."
to:
* PunBasedTitle: {{Portmantitle}}: "Neurotica" is a portmanteau of "neurotic" and "erotica.""
* ProductionThrowback:
** The album cover directly nods back to that of ''Music/{{Discipline}}'', replacing the Celtic knotwork with an eighth note.
** "Neal and Jack and Me" reprises the technique used on both "Frame by Frame" and "Discipline" where Fripp and Belew's guitars weave in and out of sync with one another.
** The Frippertronics piece that forms the intro of "Neurotica" is directly lifted from "Hååden Two" off of Robert Fripp's debut solo album ''Exposure''.
* ProductionThrowback:
** The album cover directly nods back to that of ''Music/{{Discipline}}'', replacing the Celtic knotwork with an eighth note.
** "Neal and Jack and Me" reprises the technique used on both "Frame by Frame" and "Discipline" where Fripp and Belew's guitars weave in and out of sync with one another.
** The Frippertronics piece that forms the intro of "Neurotica" is directly lifted from "Hååden Two" off of Robert Fripp's debut solo album ''Exposure''.
Changed line(s) 57 (click to see context) from:
* {{Sampling}}: "Requiem" prominently samples the Frippertronics from bandleader Robert Fripp's 1979 solo piece "Hååden Two".
to:
* {{Sampling}}: "Requiem" "Neurotica" prominently samples the Frippertronics from bandleader Robert Fripp's 1979 solo piece "Hååden Two".
Changed line(s) 62 (click to see context) from:
** "The Howler" reprises Adrian Belew's guitar riff from Music/TomTomClub's "Genius of Love", featuring it halfway into its runtime. The title and lyrics meanwhile are inspired by Creator/AllenGinsberg's ''Literature/Howl1955''.
to:
** "The Howler" reprises Adrian Belew's guitar riff from Music/TomTomClub's "Genius of Love", featuring it halfway into its runtime. The title and lyrics meanwhile are inspired by Creator/AllenGinsberg's ''Literature/Howl1955''.''Literature/{{Howl|1955}}''.
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Also unusually for King Crimson, ''Beat'' is a ConceptAlbum centered around Creator/TheBeatGeneration, an idea spurred on by the concurrent 25th anniversary of Beat writer Creator/JackKerouac's ''Literature/OnTheRoad''; guitarist and de-facto bandleader Robert Fripp directed frontman Adrian Belew to the novel as a source of inspiration. Consequently, the album emphasizes the themes of romance, existentialism, and travel-heavy lifestyle that permeated the novel and resonated with the band's own experiences as a group of musicians well-accustomed to the hectic touring lifestyle.
to:
Also unusually for King Crimson, ''Beat'' is a ConceptAlbum centered around Creator/TheBeatGeneration, an idea spurred on by the concurrent 25th anniversary of Beat writer Creator/JackKerouac's ''Literature/OnTheRoad''; guitarist and de-facto bandleader Robert Fripp Music/RobertFripp directed frontman Adrian Belew to the novel as a source of inspiration. Consequently, the album emphasizes the themes of romance, existentialism, and travel-heavy lifestyle that permeated the novel and resonated with the band's own experiences as a group of musicians well-accustomed to the hectic touring lifestyle.
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* Robert Fripp - guitar, electric organ, Frippertronics
to:
* Robert Fripp Music/RobertFripp - guitar, electric organ, Frippertronics
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Changed line(s) 40 (click to see context) from:
** The Frippertronics piece that forms the backbone of "Requiem" is directly lifted from "Hååden Two" off of Robert Fripp's debut solo album ''Exposure''.
to:
** The Frippertronics piece that forms the backbone intro of "Requiem" "Neurotica" is directly lifted from "Hååden Two" off of Robert Fripp's debut solo album ''Exposure''.
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Changed line(s) 62 (click to see context) from:
** "The Howler" reprises Adrian Belew's guitar riff from Music/TomTomClub's "Genius of Love", featuring it halfway into its runtime. The title and lyrics meanwhile are inspired by Creator/AllenGinsberg's ''Literature/{{Howl}}''.
to:
** "The Howler" reprises Adrian Belew's guitar riff from Music/TomTomClub's "Genius of Love", featuring it halfway into its runtime. The title and lyrics meanwhile are inspired by Creator/AllenGinsberg's ''Literature/{{Howl}}''.''Literature/Howl1955''.
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* ConceptAlbum: ''Beat'' acts as a musical retrospective on Creator/TheBeatGeneration, a groups of transgressive writers that came to prominence in TheFifties for their boundary-pushing writing.
to:
* ConceptAlbum: ''Beat'' acts as a musical retrospective on Creator/TheBeatGeneration, a groups group of transgressive writers that came to prominence in TheFifties for their boundary-pushing writing.
Added DiffLines:
* GratuitousFrench: The otherwise English-language "Neal and Jack and Me" features a bridge in which Adrian Belew recites the French titles for Creator/JackKerouac's ''The Subterraneans'', ''Visions of Cody'', and ''Satori in Paris''.
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''Beat'', released in 1982, is the ninth studio album by English ProgressiveRock group Music/KingCrimson. The second album in the band's trilogy of NewWaveMusic records, the album stands out as the first in the band's discography to feature the exact same lineup as its predecessor, with the entire "Gamelan Trio" configuration on ''Music/{{Discipline}}'' reprising their roles here. As such, the album carries over most (if not all) of the elements that defined the group's 1981 comeback album, though orients them in a slightly more accessible direction this time around.
to:
''Beat'', released in 1982, is the ninth studio album by English ProgressiveRock group Music/KingCrimson. The second album in the Incline to 1984, the band's trilogy of NewWaveMusic records, the album stands out as the first in the band's discography to feature the exact same lineup as its predecessor, with the entire "Gamelan Trio" configuration on ''Music/{{Discipline}}'' reprising their roles here. As such, the album carries over most (if not all) of the elements that defined the group's 1981 comeback album, though orients them in a slightly more accessible direction this time around.
Is there an issue? Send a MessageReason:
None
* IdiosyncraticCoverArt:
** The album cover follows the same template as that for ''Music/{{Discipline}}'', featuring a stark symbol in the middle and the band name and album title besides it in plain text, all atop a solid-color backdrop.
** The artwork for "Heartbeat" is a modified version of its parent album's cover, moving the eighth note and text to the lower-right corner (while also making them much bigger to accommodate the smaller size of a 7" sleeve) and swapping out the title accordingly.
** The album cover follows the same template as that for ''Music/{{Discipline}}'', featuring a stark symbol in the middle and the band name and album title besides it in plain text, all atop a solid-color backdrop.
** The artwork for "Heartbeat" is a modified version of its parent album's cover, moving the eighth note and text to the lower-right corner (while also making them much bigger to accommodate the smaller size of a 7" sleeve) and swapping out the title accordingly.
Changed line(s) 46 (click to see context) from:
* MinimalisticCoverArt: Carrying on from the design of ''Music/{{Discipline}}'' before it, the album cover for ''Beat'' depicts nothing more than a pink eighth note rendered in halftone against a solid blue backdrop, with only the band name and album title accompanying it.
to:
* MinimalisticCoverArt: Carrying on from the design of ''Music/{{Discipline}}'' before it, the album cover for ''Beat'' ''Beat'', designed by Rob O'Connor, depicts nothing more than a pink eighth note rendered in halftone against a solid blue backdrop, with only the band name and album title accompanying it.
Is there an issue? Send a MessageReason:
None
** "Neal and Jack and Me" reprises the technique used on both "Frame by Frame" and "Discipline" where Fripp and Belew's guitars weave in and out of sync with one another.
* MoodWhiplash: The atmospheric, NewAge-adjacent "Waiting Man" is followed by the frantic, explosive "Neurotica", which in turn is followed by the serene "Two Hands".
Changed line(s) 53 (click to see context) from:
* ShoutOut: "Neal and Jack and Me" is named after Beat writers Neal Cassady and Creator/JackKerouac; Kerouac's book ''Literature/OnTheRoad'' served as a direct source of inspiration for the album.
to:
* ShoutOut: ShoutOut:
** "Neal and Jack and Me" is named after Beat writers Neal Cassady and Creator/JackKerouac; Kerouac's book ''Literature/OnTheRoad'' served as a direct source of inspiration for thealbum.album.
** "Neurotica" is named after a Beat-era magazine.
** "The Howler" reprises Adrian Belew's guitar riff from Music/TomTomClub's "Genius of Love", featuring it halfway into its runtime. The title and lyrics meanwhile are inspired by Creator/AllenGinsberg's ''Literature/{{Howl}}''.
** "Neal and Jack and Me" is named after Beat writers Neal Cassady and Creator/JackKerouac; Kerouac's book ''Literature/OnTheRoad'' served as a direct source of inspiration for the
** "Neurotica" is named after a Beat-era magazine.
** "The Howler" reprises Adrian Belew's guitar riff from Music/TomTomClub's "Genius of Love", featuring it halfway into its runtime. The title and lyrics meanwhile are inspired by Creator/AllenGinsberg's ''Literature/{{Howl}}''.
Changed line(s) 55 (click to see context) from:
* SurprisinglyGentleSong: While most of ''Beat'' continues the frantic, leftfield approach of ''Music/{{Discipline}}'', "Heartbeat" is a mellow, straightforward pop song about pining for a lover's company.
to:
* SurprisinglyGentleSong: While most of ''Beat'' continues the frantic, leftfield approach of ''Music/{{Discipline}}'', "Heartbeat" is a and "Two Hands" are mellow, straightforward pop song about pining for a lover's company.songs.
Added DiffLines:
* UncommonTime:
** "Neal and Jack and Me" features Adrian Belew and Robert Fripp playing in 7/8 and 5/4, respectively.
** Most of "The Howler" is in 5/4, while the midsection is in 15/8.
** "Neal and Jack and Me" features Adrian Belew and Robert Fripp playing in 7/8 and 5/4, respectively.
** Most of "The Howler" is in 5/4, while the midsection is in 15/8.
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Changed line(s) 28,32 (click to see context) from:
* Adrian Belew - guitar, lead vocal
* Robert Fripp - guitar, organ, Frippertronics
* Tony Levin - Stick, bass guitar, support vocal
* Music/BillBruford - Drumming
* Robert Fripp - guitar, organ, Frippertronics
* Tony Levin - Stick, bass guitar, support vocal
* Music/BillBruford - Drumming
to:
* Adrian Belew - guitar, lead vocal
vocals
* Robert Fripp - guitar, electric organ, Frippertronics
* Tony Levin - Chapman Stick, bass guitar,support vocal
backing vocals
* Music/BillBruford -Drumming
acoustic and electric drums and percussion
* Robert Fripp - guitar, electric organ, Frippertronics
* Tony Levin - Chapman Stick, bass guitar,
* Music/BillBruford -
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Added DiffLines:
[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/beat_3.jpg]]
[[caption-width-right:350:''"I have no more to say."'']]
''Beat'', released in 1982, is the ninth studio album by English ProgressiveRock group Music/KingCrimson. The second album in the band's trilogy of NewWaveMusic records, the album stands out as the first in the band's discography to feature the exact same lineup as its predecessor, with the entire "Gamelan Trio" configuration on ''Music/{{Discipline}}'' reprising their roles here. As such, the album carries over most (if not all) of the elements that defined the group's 1981 comeback album, though orients them in a slightly more accessible direction this time around.
Also unusually for King Crimson, ''Beat'' is a ConceptAlbum centered around Creator/TheBeatGeneration, an idea spurred on by the concurrent 25th anniversary of Beat writer Creator/JackKerouac's ''Literature/OnTheRoad''; guitarist and de-facto bandleader Robert Fripp directed frontman Adrian Belew to the novel as a source of inspiration. Consequently, the album emphasizes the themes of romance, existentialism, and travel-heavy lifestyle that permeated the novel and resonated with the band's own experiences as a group of musicians well-accustomed to the hectic touring lifestyle.
Recording of the album was tense for the band, in large part thanks to Belew growing increasingly stressed with his numerous responsibilities as King Crimson's frontman: not only did he play guitar and sing vocals, but he also had to write lyrics and act as a guiding figure in the band's greater songwriting (his wife Margaret would consequently step in to write the words to "Two Hands"). This heated atmosphere would lead to creative clashes between the group's members, which reached a spilling point during the production of "Requiem" when Belew ordered Fripp out of the studio. The two managed to patch things up after a few days, in time to complete and release the album, but they both found themselves exhausted by the experience, which directly motivated Fripp's decision to disband King Crimson a second time two years later, following the release of ''Music/ThreeOfAPerfectPair''.
Despite the acrimonious conditions it was made under, ''Beat'' was a greater commercial success for King Crimson than ''Discipline'', reaching No. 39 on the UK Albums chart (compared to the No. 41 peak of ''Discipline'') and thus becoming their first hit album there since ''Starless and Bible Black'' nearly a decade prior. In the US, meanwhile, it would only reach No. 52 on the Billboard 200, a lower chart peak than ''Discipline''.
''Beat'' was supported by one single: "Heartbeat".
!!Tracklist:
[[AC:Side One]]
# "Neal and Jack and Me" (4:22)
# "Heartbeat" (3:54)
# "Sartori in Tangier" (3:34)
# "Waiting Man" (4:27)
[[AC:Side Two]]
# "Neurotica" (4:48)
# "Two Hands" (3:23)
# "The Howler" (4:13)
# "Requiem" (6:48)
!!Principal Members:
* Adrian Belew - guitar, lead vocal
* Robert Fripp - guitar, organ, Frippertronics
* Tony Levin - Stick, bass guitar, support vocal
* Music/BillBruford - Drumming
!!''Your shoulder against my burning tropes'':
* AddedAlliterativeAppeal: The last verse in "Neurotica" sees Adrian Belew recite a number of phrases revolving around alliteration, culminating in "skink siren skate starling star-gazer spoonbill and suckers."
* AnimalMotifs: "Neurotica" uses imagery related to various exotic animals -- both real and fake -- to highlight the wild and chaotic nature of urban life.
* BreakupSong: "Neal and Jack and Me" is narrated by someone who had recently terminated relationships with both Creator/JackKerouac and Neal Cassady, with the grief from the breakup leaving them frantic and insomniac.
* CallBack:
** The album cover directly nods back to that of ''Music/{{Discipline}}'', replacing the Celtic knotwork with an eighth note.
** The Frippertronics piece that forms the backbone of "Requiem" is directly lifted from "Hååden Two" off of Robert Fripp's debut solo album ''Exposure''.
* CallForward: One verse in "Neurotica" mentions "the howlers' resonating repertoire" two tracks before the song actually called "The Howler".
* ConceptAlbum: ''Beat'' acts as a musical retrospective on Creator/TheBeatGeneration, a groups of transgressive writers that came to prominence in TheFifties for their boundary-pushing writing.
* EpicRocking: "Requiem" clocks in at 6:48. Of note is that ''Beat'' is only one of two King Crimson albums (the other being 1995's ''THRAK'') where no song reaches the seven minute mark, indicative of its more accessible direction.
* {{Instrumentals}}: "Sartori in Tangier" and "Requiem".
* LongestSongGoesLast: The 6:48 "Requiem" closes out the album.
* MinimalisticCoverArt: Carrying on from the design of ''Music/{{Discipline}}'' before it, the album cover for ''Beat'' depicts nothing more than a pink eighth note rendered in halftone against a solid blue backdrop, with only the band name and album title accompanying it.
* MotorMouth: Adrian Belew recites the verses to "Neruotica" at immense speed, tying in with its focus on the immensely hectic tempo of city life.
* OneWordTitle: ''Beat'', "Heartbeat", "Neurotica", "Requiem"
* ThePeepingTom: "Two Hands" takes an unusual spin on the concept in that the voyeur in question is a character in a painting, watching a couple have sex in the room where the artwork is displayed. The last verse reveals that because the painter didn't include windows in the room that the art depicts, spying on people is the only thing the character can do to entertain themself.
* PunBasedTitle: "Neurotica" is a portmanteau of "neurotic" and "erotica."
* RecordProducer: Rhett Davies takes on full production duties, having previously co-produced ''Music/{{Discipline}}'' alongside King Crimson themselves. Consequently, ''Beat'' is the first King Crimson album since ''Lizard'' to not feature the band as a credited producer, as well as one of only two albums in their discography (alongside 2003's ''The Power to Believe'', produced by Gene "Machine" Freeman) to not feature any member of the band as producer at all.
* {{Sampling}}: "Requiem" prominently samples the Frippertronics from bandleader Robert Fripp's 1979 solo piece "Hååden Two".
* SensoryAbuse: The intro to "Neurotica" mimics the overwhelming wall of audio associated with busy city streets, featuring sounds of cars rushing by, police sirens wailing, and whistles blowing to create an urban cacophony.
* ShoutOut: "Neal and Jack and Me" is named after Beat writers Neal Cassady and Creator/JackKerouac; Kerouac's book ''Literature/OnTheRoad'' served as a direct source of inspiration for the album.
* SpokenWordInMusic: "Neurotica" features Adrian Belew prattling off the verses in the role of an overly-energetic traffic reporter.
* SurprisinglyGentleSong: While most of ''Beat'' continues the frantic, leftfield approach of ''Music/{{Discipline}}'', "Heartbeat" is a mellow, straightforward pop song about pining for a lover's company.
* SurrealMusicVideo: The video for "Heartbeat" (one of the only two entries in King Crimson's videography, alongside [[Music/ThreeOfAPerfectPair "Sleepless"]]) consists primarily around showcasing various CGI fade, morph, blur, and dissolve effects, without much in the way of narrative.
----
[[caption-width-right:350:''"I have no more to say."'']]
''Beat'', released in 1982, is the ninth studio album by English ProgressiveRock group Music/KingCrimson. The second album in the band's trilogy of NewWaveMusic records, the album stands out as the first in the band's discography to feature the exact same lineup as its predecessor, with the entire "Gamelan Trio" configuration on ''Music/{{Discipline}}'' reprising their roles here. As such, the album carries over most (if not all) of the elements that defined the group's 1981 comeback album, though orients them in a slightly more accessible direction this time around.
Also unusually for King Crimson, ''Beat'' is a ConceptAlbum centered around Creator/TheBeatGeneration, an idea spurred on by the concurrent 25th anniversary of Beat writer Creator/JackKerouac's ''Literature/OnTheRoad''; guitarist and de-facto bandleader Robert Fripp directed frontman Adrian Belew to the novel as a source of inspiration. Consequently, the album emphasizes the themes of romance, existentialism, and travel-heavy lifestyle that permeated the novel and resonated with the band's own experiences as a group of musicians well-accustomed to the hectic touring lifestyle.
Recording of the album was tense for the band, in large part thanks to Belew growing increasingly stressed with his numerous responsibilities as King Crimson's frontman: not only did he play guitar and sing vocals, but he also had to write lyrics and act as a guiding figure in the band's greater songwriting (his wife Margaret would consequently step in to write the words to "Two Hands"). This heated atmosphere would lead to creative clashes between the group's members, which reached a spilling point during the production of "Requiem" when Belew ordered Fripp out of the studio. The two managed to patch things up after a few days, in time to complete and release the album, but they both found themselves exhausted by the experience, which directly motivated Fripp's decision to disband King Crimson a second time two years later, following the release of ''Music/ThreeOfAPerfectPair''.
Despite the acrimonious conditions it was made under, ''Beat'' was a greater commercial success for King Crimson than ''Discipline'', reaching No. 39 on the UK Albums chart (compared to the No. 41 peak of ''Discipline'') and thus becoming their first hit album there since ''Starless and Bible Black'' nearly a decade prior. In the US, meanwhile, it would only reach No. 52 on the Billboard 200, a lower chart peak than ''Discipline''.
''Beat'' was supported by one single: "Heartbeat".
!!Tracklist:
[[AC:Side One]]
# "Neal and Jack and Me" (4:22)
# "Heartbeat" (3:54)
# "Sartori in Tangier" (3:34)
# "Waiting Man" (4:27)
[[AC:Side Two]]
# "Neurotica" (4:48)
# "Two Hands" (3:23)
# "The Howler" (4:13)
# "Requiem" (6:48)
!!Principal Members:
* Adrian Belew - guitar, lead vocal
* Robert Fripp - guitar, organ, Frippertronics
* Tony Levin - Stick, bass guitar, support vocal
* Music/BillBruford - Drumming
!!''Your shoulder against my burning tropes'':
* AddedAlliterativeAppeal: The last verse in "Neurotica" sees Adrian Belew recite a number of phrases revolving around alliteration, culminating in "skink siren skate starling star-gazer spoonbill and suckers."
* AnimalMotifs: "Neurotica" uses imagery related to various exotic animals -- both real and fake -- to highlight the wild and chaotic nature of urban life.
* BreakupSong: "Neal and Jack and Me" is narrated by someone who had recently terminated relationships with both Creator/JackKerouac and Neal Cassady, with the grief from the breakup leaving them frantic and insomniac.
* CallBack:
** The album cover directly nods back to that of ''Music/{{Discipline}}'', replacing the Celtic knotwork with an eighth note.
** The Frippertronics piece that forms the backbone of "Requiem" is directly lifted from "Hååden Two" off of Robert Fripp's debut solo album ''Exposure''.
* CallForward: One verse in "Neurotica" mentions "the howlers' resonating repertoire" two tracks before the song actually called "The Howler".
* ConceptAlbum: ''Beat'' acts as a musical retrospective on Creator/TheBeatGeneration, a groups of transgressive writers that came to prominence in TheFifties for their boundary-pushing writing.
* EpicRocking: "Requiem" clocks in at 6:48. Of note is that ''Beat'' is only one of two King Crimson albums (the other being 1995's ''THRAK'') where no song reaches the seven minute mark, indicative of its more accessible direction.
* {{Instrumentals}}: "Sartori in Tangier" and "Requiem".
* LongestSongGoesLast: The 6:48 "Requiem" closes out the album.
* MinimalisticCoverArt: Carrying on from the design of ''Music/{{Discipline}}'' before it, the album cover for ''Beat'' depicts nothing more than a pink eighth note rendered in halftone against a solid blue backdrop, with only the band name and album title accompanying it.
* MotorMouth: Adrian Belew recites the verses to "Neruotica" at immense speed, tying in with its focus on the immensely hectic tempo of city life.
* OneWordTitle: ''Beat'', "Heartbeat", "Neurotica", "Requiem"
* ThePeepingTom: "Two Hands" takes an unusual spin on the concept in that the voyeur in question is a character in a painting, watching a couple have sex in the room where the artwork is displayed. The last verse reveals that because the painter didn't include windows in the room that the art depicts, spying on people is the only thing the character can do to entertain themself.
* PunBasedTitle: "Neurotica" is a portmanteau of "neurotic" and "erotica."
* RecordProducer: Rhett Davies takes on full production duties, having previously co-produced ''Music/{{Discipline}}'' alongside King Crimson themselves. Consequently, ''Beat'' is the first King Crimson album since ''Lizard'' to not feature the band as a credited producer, as well as one of only two albums in their discography (alongside 2003's ''The Power to Believe'', produced by Gene "Machine" Freeman) to not feature any member of the band as producer at all.
* {{Sampling}}: "Requiem" prominently samples the Frippertronics from bandleader Robert Fripp's 1979 solo piece "Hååden Two".
* SensoryAbuse: The intro to "Neurotica" mimics the overwhelming wall of audio associated with busy city streets, featuring sounds of cars rushing by, police sirens wailing, and whistles blowing to create an urban cacophony.
* ShoutOut: "Neal and Jack and Me" is named after Beat writers Neal Cassady and Creator/JackKerouac; Kerouac's book ''Literature/OnTheRoad'' served as a direct source of inspiration for the album.
* SpokenWordInMusic: "Neurotica" features Adrian Belew prattling off the verses in the role of an overly-energetic traffic reporter.
* SurprisinglyGentleSong: While most of ''Beat'' continues the frantic, leftfield approach of ''Music/{{Discipline}}'', "Heartbeat" is a mellow, straightforward pop song about pining for a lover's company.
* SurrealMusicVideo: The video for "Heartbeat" (one of the only two entries in King Crimson's videography, alongside [[Music/ThreeOfAPerfectPair "Sleepless"]]) consists primarily around showcasing various CGI fade, morph, blur, and dissolve effects, without much in the way of narrative.
----
