King's X has always had an odd relationship with Christian music, the band caught in a violent tug-of-war between the general market and Christian fans. Sure, one of the band's prime selling points has been its unique penchant for melding solid pop melodies and Brit-invasion harmonies with the storm and stress of honest-to-gosh heavy metal. But the other selling point, for many fans, has been the hope--and, specifically, hope in Christ--that has driven many of the songs, some quite blatantly. Enter Moonflower Lane, the new solo album from King's X guitarist and vocalist Ty Tabor. With a decidedly sunnier disposition than your usual "dark & angular" King's X affair, Tabor expands on the pop side he brings to the King's X equation. But while the King's X connection is unmistakable, Tabor takes advantage of his freedom to explore the melodies and harmonies, as well as the acoustic strums and electric jangles he loves so much. He also takes advantage of his freedom with the subject matter. Much of the record revolves around a simple theme--the Lord has blessed him with a good life. For example, with the bright "I Do" Tabor appreciates the simple pleasures of life; compares notes with a friend (a bandmate, perhaps?) who sees life differently; and then he sweetly remembers a date with his wife. At other times, Tabor addresses his social conscience ("Hollow Eyes") and his faith ("The Truth"). The former is a kind of symphony, and the closest on the record to the trademark King's X sound, building from a discordant symphony scratching their strings to the explosion of a dark guitar riff, as the apathetic character in the song finds himself indifferent to the plight of a dying world. In the more straight-ahead guitar rock of "The Truth," Tabor addresses the importance of listening for the still, small voice of God, and how easy it can be to get distracted (including, interesting point, during a misguided church service). Although there are definite glimmers of Tabor's faith, those hoping for stronger Christian content could be disappointed. Tabor chooses a more subtle approach with Moonflower Lane; several of the songs are outspoken, but some take a more obscure direction, where the poetry is thick with meaning (or, perhaps, just thick). But this is just hair-splitting. Moonflower is a wonderful celebration of life and love and faith. It is in some ways a fine companion to the King's X discography. Better still, it is a fine guitar pop record in its own right.