Published on Jun 26, 2000
In many ways, there are two versions of the progressive metal
trio King’s X. There’s the Christian presence in a secular music
form who recorded six CDs for Atlantic, from 1988’s
Out Of The Silent Planet (the title itself a nod to
Christian author C.S. Lewis) to the psychedelic but troubled
Ear Candy in 1996. Soon after, bassist Doug Pinnick came out
of the closet, admitting his homosexuality and leaving
Christianity, and the band signed with prog-metal flagship label
Metal Blade, recording 1998’s
Tape Head and the current
Please Come Home Mr. Bulbous.
Gretchen Goes To Nebraska was recorded during the height of
King’s X’s Christian period, and is a concise, brilliant, and
tightly recorded expression of faith and hope in an imperfect
world. As a bonus in many ways, it’s also a kick-ass bundle of rock
and roll.
Lead guitarist Ty Tabor lists the Beatles as one of his major
influences, and on
Gretchen Goes To Nebraska that touch is pretty clear.
Layered harmonies and minor-tinged melodies bring certain part of
Sgt. Pepper’s to mind, especially on the CD’s opener “Out Of
The Silent Planet”. However, any resemblance to the Beatles shreds
like a spiderweb in a cyclone when the next track, “Over My Head”,
kicks in with a vicious, stinging guitar. You’re thrashing along,
head banging like Mike Myers on speed – then you realize the lyrics
are a spiritual. It’s this kind of line King’s X could walk with
alacrity and skill on
Gretchen Goes To Nebraska – the intertwining of spirit and
steel.
Other tracks of note include the rich acoustic guitar of
“Summerland”; the soaring harmonies of “The Difference”; the
complex lyrics of “Pleiades”; and the wistful closing track,
“Burning Down”. Special note as well should go to “Mission”, one of
the most damning assaults on hypocrisy I’ve ever heard: “Who are
these people behind the stained glass windows / Have they forgotten
just what they came here for? / Was it salvation or ‘scared of
hell’ / Or an assembly of a social get-together….”
Gretchen Goes To Nebraska is easily the best of King’s X’s
Atlantic recordings, a rich, yet hard album full of hope, seven
years away from Pinnick’s honesty earning the band removal from
Christian record stores across the country. It comes strongly
recommended.