Prog Rock/Metal mainstays KING'S X is back with their first new album in 14 years! After 43 years of working together, this trio of stellar musicians is still creating some of the best music of the past and present. I strongly suspect their body of work will remain relevant far into the future. Some music is just timeless, and that is what we get on "Three Sides Of One," timeless beauty. This latest masterpiece will enter the public consciousness on September 2, 2022, via Inside Out Records.

The album opens with organ tones and discordant guitar strumming, followed by jazzy drums and then the legendary vocals of dUg Pinnick. The bass does not show up until the first chorus. "Let It Rain" is a plea to whatever god might be listening to help save the world, if it even can be saved. Intentional or not, this ties into track two, "Flood Pt. 1," that surmises it might not be salvageable. Maybe there is not enough love left and we just need a flood to reset.

Both "Let It Rain" and "Flood Pt. 1" are melodic, heavy tracks. Both also have their softer segments to lull you into hoping there might be just a bit of hope left. The opening scream from dUg in "Flood Pt. 1" is haunting, but then immediately followed by a shift to a quick three note cello run and the song shifting to a lighter tone and tempo. The changes are dramatic, giving the listener a sense of how desperate the times really are.

Continuing the theme of questioning norms, "All God's Children" is a song that wonders if the overly religious are really practicing the true Christian doctrine, or if they are maybe following some twisted version to justify their personal feelings. The track is calm, opening with an acoustic guitar, then shifting to a heavy, doomy riff. The bass is slow, sludgy, played with a heavy hand and really accenting the darker feel of the lyrics. To lighten it up, we get more of what KING'S X does better than most bands, their signature three-part harmonies.

A similarly styled song, "Nothing But The Truth" is third on the record. Heavy bass tones, slower tempo with delicate rolls on the drums interspersed with some harder hitting phrases mixed in. The guitars are more melodic on this track. Lyrically, it's about telling someone they want to hear someone admit to what they are thinking, how they are feeling, not having to guess it, or say it for them. It's about expecting the other person to be honest and speak their truth.

"Take The Time" is a gentle ballad, one that never tries to turn into a power ballad. The track is perfectly happy just taking all the time it needs to get the point across. There is self-reflection in the lyrics, with Ty Tabor taking the lead this time. There are still the signature harmonies, which permeate many of the songs by this band. Sometimes with only two singers, often with all three.

For another social commentary song, let's talk about "Festival." More killer harmonies, heavier, faster rhythm, and heavier riffing support this one. The theme appears to be how there has been a proliferation of music festivals and not everyone who organizes one knows what they are doing. It feels like this one might have been inspired by the lack of full planning, especially regarding security and safety, at a festival in Houston where 10 people died. Better planning could have prevented that tragedy.

Getting back to some of the troubles with social media and people not looking for the truth, "Swipe Up" targets those who never venture away from their echo chambers. The riff is heavy, angry. The bass and drums match that intensity, hitting hard, driving the point home. The harmonies on this track kind of echo the "groupthink" you see with close-minded groups that refuse to listen to reason or anything that does not support their stance.

"Watcher" is another mid-tempo song for these guys. The tuning and tempo border doom just a bit, but the tone is lighter, especially in the lyrics, even though those are a little dark. This one appears to be about someone knowing your secrets, though it might just be your subconscious lurking in the corner of your mind, slowly working towards driving you a bit mad. No one will ever judge us as harshly as we judge ourselves.

The album finishes on "Every Everywhere," a more standard tunes song about how the world is crying for love and that more love is needed if we are to continue. At least that is what I hear. All we hear on the news is hatred and spite, while in our homes we long to be with those we care about, to join in love and harmony.

KING'S X is one of those bands that redefined music in the late 80s. their Melodic Progressive Metal style was new and exciting, a breath of fresh air. Their first two albums are some of the biggest influences the 90s music scene had. Here, they continue that trend just by doing everything KING'S X does so well. Shifts in tempo, timing, even the texture of the track, all while using three vocalists who can each hold their own individually or harmonize perfectly with the other two are one of their signatures.

This album sounds and feels deeply personal. Many of the songs are dealing with themes of a persons' belief system. Are they having an existential crisis? A crisis of faith? Are they telling us they fear the end of civility and civil discourse is upon us? I cannot answer those questions for them, but as you can see, that is the effect the songs have on me. KING'S X si one of those bands that makes me question what I think, feel, and believe, they get me to analyze my position, define what I believe.

No one does that like KING'S X. No one. Their return after a 14-year gap in studio records is not just a return to form, it's the return of innovative and creative genius that will inspire a whole new generation of musicians, and that's just speaking "Nothing But The Truth."