IQ

Review Nº 623

"Subterranea" is the sixth studio album of IQ that was released in 1997. "Subterranea" is a conceptual album with nineteen tracks. As a double album, it's notoriously the difficulty to pull off but the concept and the songs never reduce the work to mere ramblings. The music on "Subterranea" was written by IQ and the lyrics were written by Nicholls.

The line up on "Subterranea" is Peter Nicholls (lead and backing vocals), Mike Holmes (guitars), Martin Orford (backing vocals, flute and keyboards), John Jowitt (backing vocals and bass) and Paul Cook (drums and percussion). "Subterranea" had also the participation of Tony Wright (saxophone) as a guest musician.

In the end of 1994 the band started playing some new compositions to the audiences in their live shows. In November 1996 the band announced that the release of their new album would be in September 1997 and that the band had decided to make a double conceptual album with theatrical stage show with a full length performance of the album. So, the band worked hard at the different parts of the whole concept, the music, the lyrics, the sleeve and the stage. In June 1997 the recording sessions for the new album began. On August the finishing touches were put on the mixing process to be finally released. The album features photographic artwork and pictures that illustrate the concept of the album.

The concept of "Subterranea" is focused about a man who's been the subject of an experiment. He's been held captive throughout his whole life not having contact with the outside world, till he's let loose in the outside world. He has to digest all these new things. He gets involved with a religious cult, but he refuses to be converted. One day, he meets a girl and fall in love with her. He has a romance with her but she is taken away from him. He became very anger. He realises that he's being watched and he's part of an experiment. He decided to know why. He realises that he's not the only victim of the experiment. The victims decide to band together and take revenge. In a confrontation, he meets the responsible for the experiment. In the end, he resigns himself to going back into the same isolation where he started.

"Subterranea" is supposed to be the major work of IQ. And all means have been used to achieve that. IQ offers us more than an hour and a half of music on a double CD. To embarking on the writing of a conceptual album is a necessary passage for any self-respecting prog band but it's a huge risk too. However, they completely won the challenge. With such duration, the music of "Subterranea" is incredibly rich with a great atmosphere. As we know, IQ is a band that knows how to transcribe emotions very well. The music is rooted in IQ's neo-prog past with rather simple songs, driven by Martin Orford's keyboards and Peter Nicholls' theatrical and emotion-packed vocals, dressed in the progressive rock grandeur and with very strong melodies. This intense use of keyboards immediately leads them to be labelled neo-progressive. Its use is pushed to the extreme with the many parts where it's doubled, the synthetic chords mixing with the piano. However, unlike many bands that sound pompous, IQ plays the card of finesse, creating an impressive work.

"Overture" and above all the subsequent "Provider" are great introductions despite the initial orchestral tuning. The usual IQ clichés are mature and very well dosed and the keyboard carpets sound new. In terms of composition, it's the smaller pieces that stand out. "King Of Fools" convinces with guitar synths, as does "The Other Side", the already mentioned "Provider" and also "Laid Low" or "High Waters". Here, the leitmotifs are usually brought out or presented, which are taken up in other pieces and chased through the instruments and voices. As a result, "Subterranea" gains a coherent structure that is appropriate for a concept work. Here and there, there are also a few adventures that IQ hadn't dared to do before, like cheeky disturbing gimmicks with major and minor in keyboard solos "Failsafe", over-the-top vibrato effects, "Subterranea" and "Breathtaker", and the pitch delay as a harmony instrument on "The Other Side". And then there's "The Narrow Margin", the only long track on the album. Here we have individual parts that are brought together into a harmonious whole by many leitmotif connections, especially against the background of the album.

Conclusion: "Subterranea" is an amazing album. This conceptual album is so strong that practically eclipsed all the previous studio albums of the group. It was also easily compared with "The Lamb Lies Down On Broadway" of Genesis. I think there is something of it here, despite the concept be more cryptic and obscure and the music be rooted in the neo-prog style. This is generally an underrated work of them. Despite the clearly differences, it reminds me "Tales From Topographic Oceans" of Yes. Both are two very misunderstood albums by many prog fans. I never hesitated in giving the highest rating to that album and I have no problems in doing the same with this one too. For me, it's the best studio album of the band, so far, and one of the best albums ever. "Subterranea" is IQ's biggest musical accomplishment and will get under the skin of any prog fan. Definitely, I think this is certainly one of the best progressive albums of the 90's.

Prog is my Ferrari. Jem Godfrey (Frost*)

Review Nº 607

"Ever" is the fifth studio album of IQ and that was released in 1993. It features the return of their former vocalist Peter Nicholls to the line up of the group. After the release of the two first studio albums "Tales From The Lush Attic" in 1983 and "The Wake" in 1985, Peter Nicholls left the band. He was substituted by Paul Menel that participated on the two next studio albums of the band "Nomzamo" in 1987 and "Are You Sitting Comfortably?" in 1989. "Ever" was also their first album with the participation of John Jowitt as their new bass player, who substituted their former bassist Tim Essau. So, it was interesting to see how the musical direction of the band was after the last two disappointing albums.

So, the line up on the album is Peter Nicholls (lead and backing vocals), Mike Holmes (guitars), Martin Orford (backing vocals, flute and keyboards), John Jowitt (backing vocals and bass guitar) and Paul Cook (drums and percussion).

"Ever" has six tracks. All songs were written by IQ and all lyrics were written by Peter Nicholls. The first track "The Darkest Hour" is a song that starts with nice guitar and keyboard works. It's a song settled into a steady paced rhythm and with a very pleasant and catchy melody. The melody is peaceful, alternating with mysterious and calm passages. All over the song there are some nice musical textures that change throughout the song. It's a very dark and moody song with catchy lyrics. This is, without any doubt, a great song with all the ingredients that all IQ fans love, including some reminiscences of Genesis. This is a great track to open the album. The second track "Fading Senses" is divided into two parts, "After All" and "Fading Senses". This is a very simple and beautiful song where the voice of Peter sounds a little bit sad as if he was alone. In my humble opinion, this is also a song with a slight touch of irony. This is basically a song divided into two different moments. In the beginning, it's a mellow song dominated by keyboards and vocals but after, about three minutes, it change its mood with heavy guitars and pounding drums taking count of it with the sound of the synthesizers coming and going. The third track "Out Of Nowhere" brings the music back into another upbeat tempo and high energy combining the work of keyboards, bass and drums nicely. It's a very strong and heavier song, a more rock oriented number, with nice guitar riffs played under Nicholls vocals. This is a song, without any doubt, with a more straight forward commercial sound. However, and despite is my less favourite track on the album, I still like this song with its melodic upbeat style and the unmistakable voice of Peter. Besides, I think that it works very well on the album. The fourth track "Further Away" represents the second great epic on the album with "The Darkest Hour". This is a real masterpiece of the band. It's a very powerful track in terms of musical composition with multi-part musical structures and many tempo changes. The first three minutes are very melodic with some very harmonious sounds, but at the end of it the music changes to a heavier mode with a powerful soft guitar work and a very dynamic bass line. The track progresses with a more complex musical structure and an incredible sonic quality. The track ends with another mellow part and with a great keyboard work. The fifth track "Leap Of Faith" is a very beautiful track with musical passages of tranquillity leading by a magnificent synthesizer and guitar works. This is a very melodic track that reminds me strongly Genesis in the era of Steve Hackett, especially "Afterglow" of "Wind And Wuthering". It's a track with all the ingredients of truly a classic progressive track and it explains way IQ is considered, probably, the band of all neo-prog bands that carries better the spirit of the symphonic classic era, especially the spirit of Genesis' music. This is one of my favourite tracks on the album. The sixth and last track "Came Down" is a very calm and peaceful track that closes the album magnificently. We even can say that "Leap Of Faith" and "Came Down" are somehow melded together to make up another long and great track. Some of the best Peter's vocals are on these two tracks. These are, in reality, two great songs. We also can say that on these two tracks there is a grandeur that hasn't been so sincerely heard before and felt since Hackett left Genesis. It's, without any doubt, the perfect way to close this magnificent album.

Conclusion: Finally, I started reviewing albums of IQ. For unknown reasons, that surprised even me. Only now after hundreds reviews that I wrote to Progarchives, I began to review one of my favourite bands. Anyway, as we usually say, it's better late than never. By the other hand, I decided to begin with "Ever" because I think "Ever" is a landmark in IQ discography. It became as a turning point into their music. It's one of their best musical works and it begins also the base of their best line up, for me. If you love symphonic progressive rock music with a catchy melody and a moderate complexity in musical composition, IQ, and particularly "Ever", is a good starting point. By the other hand, if you love, like me, the classic era of the progressive rock, especially Genesis and Yes, I'm sure that you will not be disappointed with "Ever", even for a minute. So, "Ever" is a must have for everyone who loves symphonic and prog rock in general.

Prog is my Ferrari. Jem Godfrey (Frost*)

I feel that the band got into the old shape at the end of 90's with Subterranea and Seventh House and I was out of breath at the time this album was released. IQ has always been one of the more accessible neo-prog bands, not greatly original but having enough "meat" to offer to the fans.

The album starts very strongly with the dynamic and symphonic "Sacred sound" which can indeed be taken as a sacred song for IQ fans. Orford doing great job on the Hammond-like synths and muscular bass/drums kick in at the beginning. They complex rhythm is playful and matching the melody firmly. The solemn pipe organ intermezzo is another highlight followed by the typical frenzy instrumental workout with so much of a Genesis feeling (compare with "Robbery, assault and battery").

"Red dust shadow" brings a mellow ballad where the vocal really shines especially in the higher notes. The reflective guitar and keyboards are tasteful.

The third track is a bit light on prog wizardry but let me again highlight Orford Banksy synth solo (mmmm...) and the band's gift for a melody.

"Born brilliant" didn't catch my attention so much but eagerly awaiting the 24-minute long suite and it is full of candies be it guitar/keyboard soloing, changes in the rhythm or compositionally diverse sections. All ingredients you would expect from a decent IQ suite. One common complaint I have about their dynamic instrumental parts is that they could last for longer before the singer returns to the microphone.

This is a great album of a band at full strength.

IQ have been consistently churning out very decent neo-progressive albums since 2004 and that holds as of 2022 (Their "Resistance") is still in the high quality league.

As I could face at prog-rock festivals, IQ is almost universally accepted by many fans as it's accessible, carries on the message of the 70's (Genesis in particular) and delivers a very good product in the end. I bought a special edition of this release and didn't regret at all. While the first CD is better, more mature, the second one contains some great instrumental moments such as "Constellations".

The first composition is very symphonic, slow and quite solemn, focusing on heavy sound rather than dynamics but with a typically good IQ melody. The same holds for the second track but I think it's a tad weaker despite interesting 80's inspired moments. "Without walls" is a compositional masterpiece, well developed and constructed with tension rising to release the fire after the first 7 minutes, finally we have a longer instrumental section with keyboard textures, then comes a highly dynamic section that reminds me bit of 1974's Yes. Just when it comes to the most progressive piece in the 12th minute and moog running all over with melotron behind, it already stops in the 13th minute by adding vocals :-/. They could have made more out of that special moment. Nevertheless, the composition becomes peaceful and melodic again. The remaining two compositions on the regular album are decent but less memorable. Don't stop listening yet and put on the second CD which showcases a lot of memorable moments, I recommend "Constellations" and the fully instrumental "Hardcore".

In my quest to hear every single IQ album after hearing at least 6 outstanding releases, I knew sooner or later I would stumble across one that would not measure up, and here it is folks. This is what happens when a great prog band sells out and gives into commercial pressure and it aint pretty. Gone are the epic, complex musically intricate dynamic opuses to make way for radio friendly pop pap such as the awful Passing Strangers and Human Nature.

With the departure of Peter Nicholls, IQ became a commercial pop band worse than Asia, with the import of vocalist Paul Menel who does not have the power of Nicholls in any respect. This year of release 1987 killed a lot of bands and tried to kill prog, so many bands were selling out to survive.

There are moments of prog in the instrumental sections and I particularly love Nomzano, Common Ground and Still Life, all beautiful emotional pieces, but its a band that lost direction here. Screaming sounds like its trying to be a hit song, and thats likely because the record label was pressuring them into this. Thankfully the next albums were a vast improvement. They release masterpieces one after another so I hope I can be forgiven for the harsh critique.

Overall Nomzano is a lacklustre album reeking of mediocrity and one of the most torturous exercises I had to endure for a long time. I am now off to wash my ears out with some decent IQ. Ryker Skies will do nicely.

Pouring through the back catalogue of IQ during isolation is very therapeutic, the music is so uplifting and passionate. This debut is all killer, no filler and for a debut its absolutely outstanding on every lever. Peter Nicholls voice is dynamic and the musicianship is masterful. Tales from the lush Attic is a Neo classic, released the same year as Marillions best album Script for a Jesters Tear, can you see how ironic that is. The IQ albums to follow in the 80s were nowhere near this complex and accomplished.

Both Marillion and IQ demonstrate strong influences of Genesis and at times Nicholls channels Gabriels inimitable style it can be said. However IQ stand alone as definitive prog masters, one listen to the 20 minute epic The Last Human Gateway will be evidence. What an incredible magnum opus and still being played in recent concerts in its entirety. It even has a 7/8 time signature in one section circa Apocalypse style, and bookends with lush keyboards and fragmented drums in its odd time signature.

The other tracks are an odd assortment including a piano solo and heavy guitars in the glorious Awake and Nervous. The last track The Enemy Smacks is a masterpiece with a wild, abandonment of guitars, keys and time sigs.

So unexpectantly I find myself giving the very first IQ release 4 stars. They are simply one of the greatest prog bands out there, make no mistake.

After hearing 4 masterpieces of IQ, Ever, Frequency, Road of Bones and Resistance, i am drawn to hear their entire catalogue so eventually I heard The Seventh House. Basically its their seventh release but for me it did not live up to the masterclass virtuosity of the mentioned albums. On a personal level it did not strike me as hard as the newer albums perhaps because the band actually improved over the years and have raised the bar so high those newer albums are a tough act to compare to. Yet The Seventh House was an earlier release so my expectations may not have been so high had I heard it back in 2000.

It starts off well enough with the blitzkrieg force of The Wrong Side Of Weird, a mini epic at almost 13 minutes. Erosion follows that is nothing special to my ears but improves with the dynamic structure of The Seventh House, at 15 minutes it simply grasps me and doesn't let go. Zero Hour shoots by unnoticed by me but I adored Shooting Angels with its incredible musicianship and Peters vocals. A definitive highlight. The album finishes with Guiding Light and its a great closing number.

So overall this is a bit of a rollercoaster for me, with great heights and sweeping lows. However as usual when it comes to IQ the quality is outstanding and even though it didn't measure up to the lofty heights of the trilogy of masterpieces in the latter years, there is no denying the power and glory of the music of IQ.

The perfect album to listen to during lockdown. I adore Frequency album and Road of Bones are both masterpieces of prog and I did not think they could be bettered. Resistance is yet another masterpiece, making IQ one of the most consistent prog bands of recent times.

Resistance is a very dark concept and yet very uplifting. It begins with beautiful synth lines and builds into an aggressive power riff with pounding bass and drums; IQ in full flight are a wonder to behold. A Missile starts the album with a blaze of prog time switches and segues into one powerhouse track after another. Stay Down is a glorious track with emotional vocals from the amazing Peter Nicholls. Shallow Bay is absolutely incredible musicianship and it ends with the mindblowing For Another Lifetime that has a running time of 15:22 and takes us on a soul searching journey with astonishing musical excellence and some chilling vocals.

CD 2 opens with the magnum opus The Great Spirit Way which is just short of 23 minutes long. It is a masterful multi movement suite with shades of light and dark and by the end I was moved to tears by its emotional power. Fire and Security and Perfect Space are excellent also, leading to the epic 20 minute finale Fallout. This last track is brilliant, and the sweeping keyboard passages are so moving and majestic, absolutely beautiful music.

Peter Nicholls, Michael Holmes, Neil Durant, Tim Esau and Paul Cook are outstanding and IQ are one of the best bands out there. I look forward to what else they have in store. Their music is about as good as it gets.

"Living Proof" was an album released without IQ's permission during the 80's, with a very poor sound, which was later reissued with a little more quality.

However, the sound still leaves a lot to be desired, especially on Peter's vocals, making this live album of interest only to the staunchest fans of the English band, since the live versions included here hardly outperform their respective studio recordings.

Despite everything, it still retains something of that mythical aura that this album had during the time when it was believed that it was the last thing Peter Nichols was ever going to record with IQ. Hopefully, history proved us wrong!

Best Tracks: the songs from the excellent 'The Wake' sound especially good here. Widows Peak is still the best song of the group's first stage.

My Rating: ***

IQ's second album brought us a much more mature band with an obviously consolidated sound compared to their debut!

In fact, in "The Wake" we can already hear a preview of what would be the band's great albums in the 90s such as "Ever" or "Subterranea".

Unfortunately, after recording this album, Peter Nichols was absent for almost 10 years, causing a sound change that would not be recovered until the aforementioned "Ever".

In any case, this "The Wake" remains as a testimony of the great capacity that this band already had in its beginnings, offering one of the best neo-progressive albums of the 80s, despite the fact that naturally the production is already somewhat dated.

Best Tracks: Outer Limits (great signature bass line, and some impressive keyboard solos in the instrumental sections), The Magic Roundabout (my favorite of the album, with another absolutely stunning bass line), Widows Peak (another great IQ's trademark song, with a Peter Nichols using a somewhat deeper tone that suits the theme quite well) and Headlong (splendid and epic composition)

My Rating: ****