At this point in the career of King'X, one can't help but be reminded of Rush. Fans tend to divide both bands history into several 'eras'. King's X found a strong fan base during their 'Sam Taylor' era, which arguably lasted through Dogman (though Taylor didn't produce that album). Ear Candy, Tapehead, & Mr. Bulbous found the band searching for a new direction, surviving divorce, loss of faith, and surviving the challenges of promoting themselves through a smaller label. Most fans consider Manic Moonlight a low point for the band, so scattered and directionless that some of us feared for their future. The retro 'Black Like Sunday' didn't lend much hope, as the band reached back to pre-Taylor songs instead of looking forward. It seemed the train had run out of steam and the well of ideas had run dry.

Enter Tom Wagner[sic - Michael Wagener] who produced Ogre Tones, an album filled with fresh sounds that also hearkened back to the bands earlier prog days with Sam Taylor. I believe that King's X has been on a journey to find their place in the world musically and spiritually, and XV just may be the culmination of that trip. Like Rush, they have changed, confused fans, and all but disappeared from the public eye, but they have stubbornly refused to keep churning out the same old album year after year.

XV picks up where Orge Tones left off, but builds on its strengths. Lush three part harmonies have been largely scaled back in favor of shouted gang vocals, and small touches of the Beatlesque vocals that marked their earlier works. The spacey, proggy sound of Grethen and FHL are gone, never to return it seems, but in it's place we have a lean, tight, solid wall of sound that focuses on melody, with memorable song structure, and only hints of the complexities the band is capable of.

Hey, it's King's X. They don't have to prove themselves to ANYONE.

The new listener gets a clean, accessible version of the legendary band, while long-time fans get a mature, focused effort that's probably their strongest since Dogman. The trio is obviously revitalized and have moved beyond their roots, their tragedies, and their musical meandering. It's as if they're unapologetically saying, "This is the new King's X. Love it or leave it." Oh yeah - and it's happy (for the most part). Remember when King's X was happy? The fun is back.

I give it four stars because Ty's guitar solos are few, and many fans listen to the band precisely because the man is a god on the guitar - we need more!

Otherwise, the next logical chapter in the King's X story. It's great to watch a band grow up and figure out who they are. I'm gonna Go Tell Somebody.

XV is King's X's fifteenth release, not album per se. Up to now, they've put out eleven studio albums, one best-of, and two live discs. Therefore, this is their twelfth album.

Interestingly enough, like in the old days of cassettes, the album is divided into Side A and B, both of which contain six tracks, plus two bonus songs attached to the end. Once again, all hallmarks of the King's X sound are perfectly delivered, from the multiple vocal harmonies to in-your-face guitar work to solid-as-a-rock rhythm workout. As is the case with every King's X album, in between these numbers there are also slower-paced cuts, such as the simplistic pop of "Blue" and the Ty Tabor-sung "Repeating Myself", with its beautiful acoustic guitar arrangement and smooth vocal lines. Thick with harmony at the end, the guitars ringing beneath the vocals are truly beautiful.

Then there is the driving rhythm of the album opener "Pray", which immediately ventures into groove-inflicted territory, complete with fuzzy bass sounds, eerie percussion, and pyschedelic guitar voicings. The production is thick and heavy, and the harmonies are filled with hooks. Lyrically examining religion, and the way the guitars at the end emulate Doug Pinnick's vocals, the song sort of recalls their earlier body of work. In parallel, the vigorously syncopated rhythms of "Alright", chock full of grinding riffs and drum battery, give off the impression that the song was recorded in one take -- so powerful is its impact.

Other standouts also include "Julie", sung by Jerry Gaskill. With bluesy guitar parts, a poppy clean voice, and pounding bass arrangements, his vocals are clear as a bell, and the brief yet intense instrumental break offered here is perhaps the highlight of the album. That said, my favourite tune has to be the politically charged "Move" with its gruelling bass intro and steady, almost machine-like drumming. The chorus is simply awesome and lets Pinnick pour out the rage that built within.

There are also shorter pieces, which barely break the three-minute mark, like the rigid execution of "Rocket Ship", the instantly memorable "Stuck" (check Pinnick's chants at the end), and the hilarious "Go Tell Somebody", a tune that will get the crowds going on stage. Those anticipating Ty Tabor's softer side coming to the fore will be pleased with both the Beatles-like "I Don't Know", whose ending recalls early King's X; and the moving "I Just Want to Live", detailing lyrics of struggles of life.

As with Ogre Tones, the CD was produced by Michael Wagener and sounds organic and fresh, perhaps more so than its predecessor. The fact that so many others were asked to partake in the choruses has certainly enriched the harmonies in these tunes. Also, this time around, the band went into the studio after having written all the songs, which has resulted in a more unified work overall.

Of the two bonus tracks, "Love and Rockets (Hell's Screaming)" certainly commands your attention, particularly for its bass-centred groove construction.

Knowing King's X has some of the most rabid fans, they should be all over this album.

I discovered Ty, Dug & Jerry about 3 years ago from a friend. It was like...WHO are these guy's and why have I never heard their music. Well, they are my favorite musicians now, and I have collected almost all their CD's and side projects (I very highly recommend Jughead & The Mob & especially The Jelly Jam). So how is this CD? Let me put it this way...I am going to see them at House of Blues in August and if they only play from XV, I would be estatic. If you are reading this review, STOP-GET YOUR CREDIT CARD OUT-ORDER THIS CD IMMEDIATELY.

This by far is one of King's X best discs.

Musically and lyrically, this is as strong a release they've put out in some time.

It comes out rocking with the first track, "Pray" and just rolls on from there.

Other great tracks are "Go Tell Somebody", "Alright" and "Love and Rockets".

Always present is, of course, their great playing.

Ty Tabor on guitar, one of rock's most underated guitarists, Dug Pinnick on bass and drummer Jerry Gaskill, musically put out one of rock's tightest sounds.

If your an old fan or new, check out the new disc from one of rock's best kept secrets.

I've been a huge King's X fan for a long time, and I ordered this album not long after it came out. The few tracks I'd heard off their MySpace page sounded great, and I was looking forward to hearing the latest from them.

I wasn't disappointed - I really enjoyed XV. Doug, Ty, and Jerry's songwriting is as strong as it always was, and songs like "Blue," "Repeating Myself," and "Julie" fit right in alongside some of their classic tracks from the Gretchen and Dogman days.

It's great to hear these guys continue to create innovative and exciting music. A definite must-buy for hard rock fans and a worthy addition to the King's X discography.