The third major line-up of King Crimson was radically different from the previous two. Fripp's four new recruits were free-improvising percussionist Jamie Muir, drummer Bill Bruford, who left Yes at a new commercial peak in their career in favour of the "darker" King Crimson,bassist and singer John Wetton, and violinist and keyboardist David Cross whom Fripp had encountered through work with music colleagues. With Sinfield gone, the band recruited Wetton's friend Richard Palmer-James as their new lyricist. Unlike Sinfield, Palmer-James played no part in artistic, visual, or sonic direction; his sole contributions were his lyrics, sent to Wetton by post from his home in Germany. Following a period of rehearsals, King Crimson resumed touring on 13 October 1972 at the Zoom Club in Frankfurt, with the band's penchant for improvisation and Muir's startling stage presence gaining them renewed press attention.
In January and February 1973, King Crimson recorded Larks' Tongues in Aspicin London which was released that March. The band's new sound was exemplified by the album's two-part title track – a significant change from what King Crimson had done before, emphasising instrumentals and drawing influences from classical, free, and heavy metal music. The record displayed Muir's free approach to percussion, which included using a drum kit, bicycle parts, toys, a bullroarer, hitting a gong with chains, and a joke laughing bag. The album reached No. 20 in the UK and No. 61 in the US. After a period of further touring, Muir departed in 1973, quitting the music industry altogether. Though this was initially thought to have been motivated by an onstage injury caused by a gong landing on his foot, it was later revealed that Muir had gone through a personal spiritual crisis, and had withdrawn to become a monk.
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