The fourth and self-titled King's album shows a very purposeful direction change. This album has more straight-ahead heaviness to it than ever before, it's more commercial than ever before, and it's more alternative than they've ever been. These are the conclusions that immediately jumped into my head after one listen. Upon subsequent listens, I began to unravel the many textures that made up album number four. The first song slams along at near breakneck speed without going into thrash mode, kind of like "King" from Out Of The Silent Planet. Ty seems to be using a picking motion that is somewhere between a Judas Priest double guitar attack and a flange-d sound. The very next song, "Prisoner", finds Ty starting things off with a very alternative/pop riff that's completely new for King's X. Guitar-wise it's something I might hear in a Simple Minds tune, but Doug's vocals add the mega-decibel passion that he's capable of. In the song, Ty relates his past involvement with drugs. "Lost In Germany" is another personal song penned from Ty, about a not-so-pleasant time in a certain European country. I really love some of the choice of words the guys came up with here, like, "Swimming in an ocean of your feelings... It was like a never-ending week/ But I've learned to turn the other cheek... Shooting at a target that eludes me/ Hammering at a nail that just won't go in/ Biting on a tongue that wants to speak out/ Searching for a light that I can shine." "Chariot" is another very cool lyrical song, which includes the references to the band's three previous album titles, but in an un-nerving manner fail to complete the thought: "Out of the planet comes Gretchen with faith, hope and," as they stop short of finishing the sentence, and then plummet into an industrialized vocal treated chorus of "Give me not a little bit love without measure!" Just as creative is the number of time and melody changes the song experiences. References to "Swing Low, Sweet Chariot" peek its head into the song, as do some big orchestra-sounding moments a la Sgt. Pepper era Beatles in the background. Speaking of innovative and strange sounds, Mr. Tabor pulls out the ole' sitar again for tunes like "Not For The Dead", which also includes a volume-knob swell solo of "Amazing Grace" and several Arabic-like language imitations. "Love" is a cool song, which features the noticeable tuning-down to "C" technique. Wow, talk about a low low-end! The numero-uno song for this reviewer is the album closer, called "Silent Wind", which conveys some of the frustration and confusion sometimes surrounding the divisive and judgmental behavior of some religious people and even true Christians. "I sometimes wonder if we're walking down the same line/ I'm sorry to say, that while you talk I keep my eye on the time/ When we pray, do we listen to the silent wind? If you pray, do we listen for the silent wind? ...will we breath in the silent wind?" Hmmm. Could the Silent Wind signify the Holy Spirit? Good stuff. A church-like pipe organ finishes out the tune. The only song that doesn't push all my musical buttons just so happens to be the first single off the album--"Black Flag". The chorus line is so straight-forward and anthemic that it doesn't seem to befit this Art Metal band. But, besides the cheesy chorus, the rest of the song is good. It seems King's X risked a lot on this album. The band grew in popularity by its greatest margin last year after the release of the "It's Love" single and video, with critics, fellow musicians and die-hard fans all expecting something great to follow it up. What does King's X do, but explore more musical horizons within themselves, not title the album, and almost not even include the band's logo and name on the front cover! (which features a little girl picking up crumbs off the floor next to a table with bread and wine on it) Who do they think they are, Led Zeppelin? Well, the risk has been taken, and I believe it was a winning decision. After taking a while to get used to, I've grown to really like this album.