Their early 1970s recordings never repeated the shock of the new of the Crims’ Court of the… debut, despite Keith Tippett’s jazzish input. But then came the new quintet. Cross’ fiddles, Wetton and Bruford liberated from superstardom and most spectacularly, Jamie Muir hi-jacked from avant-garde and jazz circles all breathed new life into the behemoth, forcing Fripp to up his game. The high-octane energy, profound musicianship and sheer bravura of the album included cuts that became favourites across all iterations of the band.

But another re-issue? Most definitely ‘yes’. Okay, Blu-ray II includes remixes and Dave Singleton’s audio documentary that appeared on the 40th Anniversary 2012 release. But everything else is unreleased. Sure, hearing every take is something we’ve grown used to and it’s fascinating to hear how a track builds, burns down and starts again. Yet we’re in fairly typical box set territory.

But oh, boy, Steve Wilson’s Dolby Atmos re-mixes from 2023 take the album into new vistas. Because of Muir’s brilliance, almost uniquely to Larks’ Tongues, the original recording was bejewelled and scattered with remarkable percussive patternings. But these could barely be heard on the original release. However Wilson has bought all these soundscapes to the fore yet significantly separated them. This means some of the dynamics are softer, but the separation reveals a previously un or under heard sonic world. Even slithery rockers like ‘Easy Money’, especially with the vox removed, become a percussion rainforest, with Bruford cleaving to Muir in a relationship not heard before. Gorgeous.