Review Summary: Don't forget to pray for me
Much like how the earliest King’s X albums serve as extensions of one another while feeding into a larger trajectory, XV is essentially cut from the same cloth as the preceding Ogre Tones. The trio returned with Michael Wagener as the producer, InsideOut for distribution, and musicianship and songwriting favoring a mix of laid back vibrance. There were even signs of the approach paying off with the band charting on the Billboard for the first time since the days at Atlantic.
With that established, this album sets itself apart by means of an emphasis on heavier songs. “Pray” is one of the band’s strongest openers to date, alternating between fuzzy bass-driven verses and stomping choruses with the vocals issuing one of their most visceral critiques of organized religion. “Move” is another major standout for its more desert rock vibes while “Stuck” and “Go Tell Somebody” almost feel like Dogman throwbacks with their muscular rhythms. The two bonus tracks are also worth noting in this fashion as “Hell’s Screaming (Love and Rockets)” puts in some extra menace and “No Lie” makes for a fun beefy blues exercise.
The band’s softer side remains prominent though unfortunately not quite as effective on here. The Tabor-driven songs are pleasantly performed but end up running together as “Repeating Myself” and “I Don’t Know” sounding a little too similar while “I Just Want to Live” adds an extra crunch for a little surface level variety. Thankfully, “Blue” channels that Ogre Tones somberness with a poignant chorus and drummer Jerry Gaskill gets another one of his rare spotlight moments with the simple but endearing “Julie.”
Overall, XV is just a step below Ogre Tones but still makes for a solid example of King’s X standing strong in their later years. It ranks somewhere in the middle of their discography, the best songs turning out fantastic even if there aren’t as many and the whole package feeling much more cohesive than their early 2000s outings. It’s another album that should sit well with established fans, especially those who prefer the heavier side of the band seen on Dogman. One can only hope it doesn’t end up being the band’s swansong.
At this writing, it has been fourteen years since XV was released. The musicians have since admitted that the album was created under rather apathetic circumstances and the band’s future has been uncertain between the studio silence and health concerns periodically affecting their touring schedules. There is talk of a new King’s X album releasing this year, leading one to wonder how it’ll turn out between the delay and the numerous projects that were released in between. If it’s as good as this one, I’ll be happy.
