Pretty good description. The group's albums from the 90s are some of the most purely barbaric sounds put to tape. There are not a few passages that sound like galloping across the howling steppe, wringing necks from horseback. I'd recommend Home in particular if you can find it.
I'm well familiar with Fripp's stance on copyrights - a big reason why King Crimson is a huge blindspot in my musical knowledge. I never got around to buying their albums and haven't been able to listen in the meantime. Shame because they're always touted by the right kinds of people.
Intellectual/creative property is kind of a bugman concept to me. I can understand where someone would need to make a living off of their craft, but I don't think it does much for the composer even then - given the profusion of music and the ease of its acquisition right now, Fripp's move has probably nothing more than turn new ears away from King Crimson and toward something else. The whole concept surrounding the issue though is another instantiation of the reign of quantity - the economization of life and the triumph of the market over transcendent qualities. Proudhon's view - that personal distinction is the proper and sufficient reward for creative power - seems altogether more sensible than meting it out for pay.
Anodyne was Mike Hill's band before Tombs - they're way better too, like Today Is the Day reduced to a slab of concrete. It's incredibly dissonant, blunt, and propulsive - sounds like Converge if they weren't annoying spazzcore.
@Caamib, did you ever hear of this band? From Belgrade in the 80s.