It would be tempting to scour No. 4, Scott Weiland's reunion with Stone Temple Pilots, for insights into his troubles, yet the group consciously avoids this throughout the album. That's for the best, since it's their hardest effort since their debut, Core. Down and Heaven Hot Rods provide a powerful, brutal opening for No. 4 -- it's as if STP decided to compete directly with the new generation of alt-metal bands who prize aggression over hooks or riffs. With these two songs, the band's attack is as vicious as that of the new generation, but they retain their gift for gargantuan hooks. Much of the album hits pretty hard -- most explicitly on No Way Out, Sex Violence, and MC5, -- and even the ballads and neo-psychedelic pop have none of the swirling production that distinguished Tiny Music. That sense of adventure is missed, because even if the album finds STP returning to the muscular hard rock that made them, they always sounded better when they concentrated on melodicism. No. 4's most effective moments have a variety of sonic textures and color -- Pruno tempers its giant riffs with spacy verses; Church on Tuesday is a great pop tune, as are the trippy Sour Girl and I Got You; and the psychedelic Glide and closing ballad, Atlanta, have a sense of majesty. These songs anchor the heavier moments, instead of the other way around, and it all plays well together. As a matter of fact, No. 4 is as tight as Tiny Music. Even if it isn't as grandiose or sonically compelling as that effort, it's a record that consolidates all their strengths. ~ Stephen Thomas Erlewine, Rovi

1		Down
2		Heaven & Hot Rods
3		Pruno
4		Church on Tuesday
5		Sour Girl
6		No Way Out
7		Sex & Violence
8		Glide
9		I Got You
10		MC5
11		Atlanta
12		Down