When Robert Fripp resurrected King Crimson in late-2013, one year after seemingly retiring from the music industry, it was only appropriate that he revamp the entire project just as he’d done numerous times during the past four-plus decades. But even some hardcore fans were perplexed by the band’s latest mutation: first a “seven-headed beast” lineup with three drummer/percussionists, a totally new frontman (singer/guitarist Jakko Jakszyk, replacing longtime member Adrian Belew) and returning reed expert Mel Collins (a staple on early LPs like 1970’s Lizard) followed by an expanded “double-quartet” with an additional keyboardist. Though this reconfigured Crim appeared unwieldy on paper, it flourished onstage—gaining momentum and cohesion with each leg of its tour. This “official bootleg,” Live in Chicago, documents the group’s maniacal musical vision, which blurs the line between laser-focus and limber looseness. King Crimson proved they could utilize two drummers in the mid-‘90s during their “double-trio” era, with Bill Bruford and Pat Mastelotto battering away in a polyrhythmic frenzy. But their current percussion trio (Mastelotto, Gavin Harrison, Jeremy Stacey) have rebuilt both old and new material from rhythm outward, highlighted by the hailstorm climax of 1974’s “Fallen Angel,” the electronic pokes and prods of 1973’s “Easy Money” and the roto-tom madness of 1981’s “Indiscipline.” The octet weave songs from every Crimson iteration into a seamless sonic assault—equal parts ancient past and, seemingly, distant future.