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IQ biography What's the difference between a ring and a cult band? A charismatic frontman, able to seduce the audience with a single expect? A mastermind, conducting his fellow geniuses to sheer excellence? A dedicated and addicted following lasting iii decades? An outstanding live concept combining stage charisma, true emotions and self-ironic humour? Take it all, add a catalogue in which every new entry is described every bit 'the latest masterpiece' and you get IQ. Rise from the ashes of THE LENS in 1981, the original line up of Peter NICHOLLS, Michael HOLMES, Martin ORFORD, Paul Cook and Tim ESAU formed a band achieving the impossible - the combination of such various styles as prog, punk, jazz and even reggae. Their starting time cassette album, afterwards re-released on GEP as 'SEVEN STORIES INTO 98', is still an outstanding example of that. Both their first vinyl albums 'TALES FROM THE LUSH Attic' and 'THE WAKE' gained instant classic status in the 'new wave of British progressive stone'. Presently the band became a regular in London's world famous Marquee order, performed more 200 gigs each year in the UK (as seen in the 'Live FROM LONDON' video from 1985), and quickly attained a stiff and loyal following. Later on signing to POLYGRAM in 1987 with new singer Paul MENEL, they released 'NOMZAMO' featuring the unmarried 'PROMISES' which made it loftier in the Dutch charts. European tours and the album 'ARE YOU SITTING COMFORTABLY?' followed, but MENEL and bass player Tim ESAU left the band shortly later in 1989. What could have been the end was in fact just some other beginning. NICHOLLS rejoined and was welcomed dorsum enthusiastically at concerts in London and Paris. At the same time GEP was founded by musicians and assembly of IQ with the rarities album 'J�AI POLLETTE D�ARNU' becoming the label'southward debut release. In 1993 IQ'south new album 'Always' thrilled fans onetime and new with a mod and yet traditional interpretation of progressive rock. With new bassist John JOWITT (ex-ARK) the band embarked on a storming bout of the UK and mainland Europe, and played acclaimed festival appearances in the USA and South America. The tour was captured on film at the celebrated 'FOREVER LIVE' bear witness in Kleve and was released in a special box gear up featuring video, double CD and big booklet. In 1997, IQ released 'SUBTERRENEA', a ... What's the difference between a band and a cult band? A charismatic frontman, able to seduce the audience with a unmarried expect? A mastermind, conducting his fellow geniuses to sheer excellence? A dedicated and addicted following lasting three decades? An outstanding live concept combining stage charisma, true emotions and cocky-ironic humor? Take it all, add together a catalogue in which every new entry is described as 'the latest masterpiece' and y'all get IQ. Rising from the ashes of THE LENS in 1981, the original line up of Peter NICHOLLS, Michael HOLMES, Martin ORFORD, Paul COOK and Tim ESAU formed a band achieving the incommunicable - the combination of such various styles as prog, punk, jazz and even reggae. Their first cassette album, after re-released on GEP as 'Seven STORIES INTO 98', is still an outstanding example of that. Both their first vinyl albums 'TALES FROM THE LUSH ATTIC' and 'THE WAKE' gained instant classic status in the 'new wave of British progressive stone'. Presently the band became a regular in London's world famous Marquee social club, performed more than 200 gigs each yr in the UK (as seen in the 'LIVE FROM LONDON' video from 1985), and quickly attained a stiff and loyal following. After signing to POLYGRAM in 1987 with new vocalizer Paul MENEL, they released 'NOMZAMO' featuring the single 'PROMISES' which fabricated it high in the Dutch charts. European tours and the album 'ARE YOU SITTING COMFORTABLY?' followed, simply MENEL and bass player Tim ESAU left the band presently afterwards in 1989. What could have been the stop was in fact simply another commencement. NICHOLLS rejoined and was welcomed back enthusiastically at concerts in London and Paris. At the aforementioned fourth dimension GEP was founded by musicians and assembly of IQ with the rarities album 'J�AI POLLETTE D�ARNU' becoming the label'due south debut release. In 1993 IQ's new album 'Always' thrilled fans old and new with a modern and yet traditional interpretation of progressive rock. With new bassist John JOWITT (ex-ARK) the band embarked on a storming bout of the UK and mainland Europe, and played acclaimed festival appearances in the United states of america and South America. The tour was captured on picture show at the celebrated 'FOREVER Alive' show in Kleve and was released in a special box set featuring video, double CD and large booklet. In 1997, IQ released 'SUBTERRENEA', a classic double concept anthology with a very fresh approach which amazed both critics and fans alike. Brought to the stage with a stunning visual evidence, featuring moving lights, moving screens, films and theatrical action, information technology set up standards not only for IQ but for all of their contemporaries in the prog world. But when everybody idea IQ couldn�t button it any further, once again the band convinced the public with new album 'THE 7th HOUSE' (2000), soon followed by a two disc live DVD 'IQ20' filmed at the band'south 20th ceremony show in London. Both 'THE 7th HOUSE' and 'Night Affair' (released in 2005) are musical gems, featuring some of the strongest songs IQ have written. Another double live DVD 'STAGE' (featuring new drummer Andy EDWARDS) captured the Dark Matter tour with 2 complete gigs on both sides of the Atlantic. Early in the writing sessions for 2009's 'FREQUENCY' keyboard player Martin ORFORD left the band and was replaced by Mark WESTWORTH. 'FREQUENCY' proved to exist another highlight in an outstanding career and was presented to a large audition in the Uk, Frg, Holland and the USA. 2010 saw the 25th anniversary of IQ'southward archetype album 'THE WAKE', an occasion marked by a very special limited edition four disc deluxe box set of this fantastic album. Some other change of personnel in 2011 meant that 4 out of v original members were once again in IQ when Tim ESAU and Paul Melt came back to the fold, joined on keyboards by Neil DURANT (SPHERE). They celebrated that yr with a series of gigs to marking the ring'due south 30th anniversary. In April 2012, on the 15th anniversary of 'SUBTERRANEA', GEP released the acclaimed anthology on vinyl for the get-go time, with all new artwork and deluxe packaging. The first 500 copies included a free 12" single containing 2 songs that didn't make it onto the anthology. The band marked the occasion by re-staging the original show in full, updated with improved technology and production values. For 2013 Mike was able to celebrate the 30th ceremony of IQ'due south beginning anthology 'TALES FROM THE LUSH ATTIC' with a completely new mix from the 24 track masters, which was released in both ii disc hardback book and gatefold heavy duty vinyl editions. This was before long followed by the vinyl release of the band's 1993 album 'EVER' on vinyl. 2014 sees the release of IQ's eleventh studio anthology, 'THE Road OF BONES', supported by live performances in the Britain and Europe. It was officially launched at Islington's Assembly Hall on May 3rd and has received unanimous praise across the board. Biography provided by the artist and used with permission
Founded in Southampton, England in 1981
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IQ discography
Ordered by release date | Showing ratings (top albums) | Assist Progarchives.com to consummate the discography and add together albums 
IQ top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
 3.81 | 530 ratings Tales from the Lush Attic 1983 |  3.80 | 631 ratings The Wake 1985 |  two.84 | 368 ratings Nomzamo 1987 |  2.79 | 339 ratings Are You Sitting Comfortably ? 1989 |  4.07 | 723 ratings Ever 1993 |
 3.99 | 724 ratings Subterranea 1997 |  3.forty | 177 ratings Seven Stories into 98 1998 |  4.01 | 724 ratings The Seventh House 2000 |  4.05 | 986 ratings Nighttime Matter 2004 |  four.ten | 974 ratings Frequency 2009 |
 4.24 | 1339 ratings The Road of Bones 2014 |  4.fourteen | 471 ratings Resistance 2019 |
IQ Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
 three.09 | 92 ratings Living Proof 1986 |  3.91 | 105 ratings Forever Live 1996 |  4.05 | 22 ratings Subterranea Bout Live Germany 1999 |  four.03 | xix ratings Head Long to Argentina 1999 |  iii.95 | 20 ratings La Maroquinerie, Paris xviii November. 2000 2000 |
 4.28 | ninety ratings Subterranea: The Concert 2000 |  4.49 | 37 ratings The Annal Collection - IQ20 2002 |  4.53 | 74 ratings The Wake - Live At De Boerderij, Zoetermeer 2010 |  4.25 | 4 ratings De Boerderij Zoetermeer Kingdom of the netherlands 23 Oct 2011 2012 |  4.64 | 53 ratings Live On The Road Of Bones 2015 |
 4.74 | ten ratings A Bear witness of Resistance 2020 |
IQ Videos (DVD, Blu-ray, VHS etc)
 4.35 | 71 ratings Subterranea - The Concert 2000 |  4.43 | 64 ratings IQ20 - The Twentieth Anniversary Show 2004 |  3.77 | 35 ratings Live From London 2005 |  4.42 | 128 ratings Stage 2006 |  iii.89 | 36 ratings Forever Live 2007 |
 4.44 | 36 ratings Scrape Across the Heaven 2017 |
IQ Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)
 3.30 | 67 ratings J'ai Pollette d'Arnu 1991 |  iv.65 | 34 ratings For Ever Live 1996 |  3.43 | 76 ratings The Lost Attic - A Collection Of Rarities (1983-1999) 1999 |  4.37 | 54 ratings The Wake 2010 Remaster 2010 |  iii.06 | 16 ratings Re:Mixed 2011 |
 4.63 | 103 ratings Tales from the Lush Attic 2013 Remix 2013 |  4.88 | 34 ratings E'er - 2018 Remix - 25th Anniversary Collector'south Edition 2018 |  4.67 | 3 ratings The Annal Collection 2003-2017 2021 |
IQ Official Singles, EPs, Fan Social club & Promo (CD, EP/LP, MC, Digital Media Download)
 3.00 | iii ratings Fascination 1982 |  four.00 | 4 ratings Awake And Nervous 1983 |  two.92 | 12 ratings Barbell Is In 1984 |  4.17 | 6 ratings The Legendary IQ Free Tape 1984 |  iii.xx | 5 ratings Corners 1985 |
 2.73 | 39 ratings Nine in a Pond is Here 1985 |  3.33 | 3 ratings Nomzamo 1986 |  3.20 | v ratings Intelligence Quotient 1986 |  2.92 | 4 ratings Promises (As The Years Go By) 1987 |  3.75 | 4 ratings Here In that location And Everywhere 1987 |
 3.33 | 3 ratings No Love Lost 1987 |  3.29 | vii ratings Passing Strangers 1987 |  0.00 | 0 ratings The Large Balls Of Bert Christ 1989 |  2.00 | 1 ratings One More Boxer 1989 |  3.20 | 10 ratings Sold On You lot 1989 |
 2.00 | 1 ratings Drive On 1989 |  2.00 | ii ratings Bulba Neeny Noo 1992 |  four.00 | six ratings The Darkest Hour 1993 |  3.66 | 30 ratings Frequency Bout 2008 |  4.04 | 27 ratings Tales from a Nighttime Christmas 2017 |
IQ Reviews
Showing final 10 reviews only
4.05 | 986 ratings
BUY
Night Affair
IQ Neo-Prog
Review by Dapper~Blueberries
I listened to this anthology ii times by at present. The first time I played information technology off and on due to homework and stuff similar that. However the second time I listened to information technology fully without stopping, and my god is information technology so rewarding. Paying attention and feeling the music is then practiced. This album is actually good in that aspect in what it does and achieves. For 1 the production value is elevation notch. Cipher sounds besides cluttered or to large, but never to spacey and small. Information technology's perfectly tightly packed without it feeling claustrophobic in it'southward sound. Not merely that just how the album progresses each then satisfying. It feels like each song is progressing through and through without the need for unnecessary breaks or stops, giving it a lush and beautiful charm. This is best shown in the 24+ minute suite, Harvest of Souls. The runway is a gemstone in my book, and how each phase of the suite progresses to one and another, and how each stage feels interlinked but different feels super nice and comfortable to merely sit back and engulf in.
Now I know this album is definitely i of my favorite albums, heck mayhap my favorite Neo Prog album to date, and I am rating this a v star, however I should at least requite some criticism. This is more of a nitpick, simply I do experience similar this album goes a bit too much towards the direction a lot of 70s Prog bands had, specifically Genesis. While I do very much honey that sound, more modernistic Prog I expect and development, having a more modern style than the ones seen from bands like Yes or Camel. This is more than of a slight and small criticism on an otherwise brilliant album, and it definitely doesn't have much of a dent with the album itself, all the same I felt similar I needed to give an actress 2 cents on the anthology.
And then if you cannot tell, I friggin love this album to expiry. Information technology's cute, it'south enigmatic, it'southward satisfying to hear, and it has a really slap-up product value to tie information technology all together. I wouldn't mind having this in a tape drove, not one bit.
4.07 | 723 ratings
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Ever
IQ Neo-Prog
Review by ElChanclas
The opening track The Darkest Hour starts with that feature fat bass line accompanied by some keys and electrical guitar nuances before fading into the song body per se, sounding more late lxxx's manner than early ninety's? maybe more Marillion-like and I point Paul Melt's drumming for bringing that feeling to this mini epic and memorable tune. There's a light simply important change midways, switching from the bright melodic atmosphere to a more darker and sinister statement in accordance with the lyrical content showcasing the brilliance that these musicians achieve in their creations, beautiful guitar licks so lead to the terminal ii plus minutes where the light came back to illuminate the listener's experience, classic IQ. The very emotional Fading Senses blends in without notice in a angelic and mellow way, with Nicholls performing at a very mature level transmitting the beautiful sadness of the concept before Mike Holmes brings the iconic Horror-like guitar licks similar a haunted castle conductor for the rhythmic section, and so tight and to the betoken that it almost goes without notice, same unique melody experience that Martin's keyboards will add together to the table before the catastrophe of the song? then some backing bird tweeting set up the listener to some other rhythmic section contend for the start of Out of Nowhere, the rocker of the album. Holmes heavy metal-like riffing opens a new mood sounding more like their previous work opposing (without degrading) the more prog audio of the commencement two songs with Nichols vocals resembling the Wake era, but non for long?coincidentally or smart plenty that's the shortest slice of the record. Further away brings back the ballsy nosotros were peckish all forth in a 14 plus minutes exceptional musical crafting. Blueprint Neo Prog melodic bass and keys mark the steps on which Nichols builds his vocal entrance, then once more comes the heavy (but more than dense and compact) riffing from Holmes while Cook'due south drumming confirms why he is one of the most love drummers of the genre
Lyrics: "Tension seekers and public speakers defend these they have come to guess, seasonned liars and fake messiahs descend to lay on the feeling impact, and I've seen also much, day by day and I don't know why...after all, don't we matter the same?", and so the classic IQ guitar licks with the fat bass lines and fantasy built keyboards?also much?too perfect?also IQ, smartest of music played by amazingly talented musicians? and side by side fairytale bright melodies to bring residue to the darkness
Lyrics: "I was the kickoff in that sinister bed endmost the shutters and cutting the thread, shackled and fettered I know who you lot are bleeding the center and the mind as the rivers run carmine, somebody said, "Here is Hell" how can someone make so sinister and sad lyrics sound so beautiful?
Leap of Faith, my favorite vocal from the album simply feels like an upgraded continuation of the previous song, then intelligently placed in the queue to almost distract the listener who's trying to decipher when it ends or when it begins, magnificent. Martin and Holmes battle for the primary roll giving the states the pleasure of hearing such an exquisite t�ndem, a musical legacy like no other. I would take loved to see that tour alive, watch all these incredible performances on stage, flawless and pristine, like all they practice. Nix lasts forever, unfortunately?Came Downward follows the greatness already described, maintaining the same mood, await and experience of the previous 40 plus minutes, this time accepting the unwanted job of ending the masterpiece?vocal harmonies, guitar licks, tight rhythmic section and tasty and elegant keys all over over again. If you reading this review have never listened to this ring earlier this is your must to go album, success guaranteed!
four.fourteen | 471 ratings
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Resistance
IQ Neo-Prog
Review by The Ace Face up
A Missile: This is one hell of an opener, with difficult charging and super heavy riffing breaking out of the gate into a rock common cold classic. The organ and synthesizer complement the heaviness perfectly, but this song breaks through when it adds the 2nd chorus, breaking out of the darkness to epic bombast courtesy of Neil Durant'southward synthesizers. The usual deadening breakdown section is nice and eerie, with the keyboards sounding Merely a tad as well "midi", just it doesn't take away from the song. Also evident on this song, which volition become a theme with this anthology, Paul Melt'southward drums are going then fast and so chaotic it feels similar the whole enterprise is notes away from flying off the rails and collapsing. That it never does is testament to their tightness, only man this guy is cutting loose on this anthology.
Ascent: ambient keyboard intros with some haunting lyrics from Nicholls in the opening, leading to the heavy still atmospheric riffing department. The riffs keep dropping out for more of the haunting vocals, and it's so difficult to describe but the overall issue of these choices creates an emotional reality for the song that grabs you and holds on. Nicholls desperate lyrics most angels dying, the age of man, create this feeling of a far off boxing for the soul of the universe, which reflects the album'south cosmic embrace beautifully. The song builds and builds to a crashing climax, with a soft coda at the terminate. IQ manages to make these songs memorable without needing to pause into the usual prog fireworks of solos because their composition force has grown to the point where the band themselves are the flash, rather than the chops.
Stay Downward: stunningly beautiful piano melody starts us off while Nicholls sings nigh fourth dimension standing still, mournful and sorry. Chiming acoustic guitar begins to back-trail this, before picking up to double time while the classic choir mellotron accompanies. This is basically a Genesis passage, merely it works and is of a piece with IQ's audio. Beautiful stuff, and the tune and so gradually becomes sinister as Nicholls' phonation rises higher and higher and the song takes a night plough. The moment he cries "Damn your optics and you stay down" is the purely masterful work of a band that knows how to craft their emotional and cathartic climaxes. The crashing guitar and drums give way to a drum curl with some lovely guitar lead piece of work from Holmes, the showtime we've heard him play as soloist on the album so far. That restraint makes information technology all the more worth it when information technology comes. The urgent drums underpin Nicholls' concluding vocal section that drives to the final crashing climax. But masterfully washed.
Alampandria: Spacey keyboards dominate nigh of this sort song before a brusque rock section with vocals and a guitar solo stop information technology, just that brevity belies the feel of the song, which nigh feels like a continuation of Stay Down's harder climax. All strung together intentionally for maximum impact of emotional climaxes and the necessary lulls and interludes.
Shallow Bay: Nice mournful piano notes, and a good slower paced song with a keen emotional sound. Mellotron backing up a nice beat and melodies from the bass and guitar. Only a perfectly written and adult vocal with great shifts in cardinal and tone, followed by one of Holmes' classic soulful soaring guitar solos.
If Anything: a beautiful slower paced ballad, with a drum motorcar of all things, that is a beautiful pacing choice later on Shallow Bay brought the beginning part of the first disc to an emotional loftier. Depression keyboards, fretless bass, classical guitar all accentuate Nicholls' beautiful vocal. The early on fadeout makes room for some crashing sounds, like the darkness from before returning, and several haunting organ chords accept us into the adjacent song.
For Another Lifetime: A carnival calliope sound gets this xv minute epic closer off to an off kilter starting time. The tune goes from creepy and odd to more than emotional and back once again, as Nicholls' lyrics predictably seem both meaningful and meaningless at the same fourth dimension, merely always seem perfectly suited to the music. The band kicks in with a tiresome moving section, progressing the eerie melodies from before into some neat lead guitar parts with synths coloring in the margins to complete the temper. The bass has some dandy riffs and licks. Nicholls' sings in the new section before the tempo kicks up and the synth and guitar leads take the vocal into another gear. Another slower simply much heavier department follows, with some creative riffing and dark mellotron vocalism parts standing to intensify the temper. This heavier department seamlessly segues, flake past bit, into a more upbeat and uplifting melody in such a brilliant series of shifts. This final section ends, classically, with cute guitar solos and mellotron choirs taking us up to the heavens, and a piano and vocal ending to bring a nice coda.
The Peachy Spirit Way: Harvest of Souls topped the Last Human Gateway, Without Walls topped Harvest of Souls, and now the Great Spirit Fashion tops Without Walls as the best ballsy IQ has washed, and maybe the all-time song they've e'er washed period. Starts out usual, with spacey altercation and then the drums kick in with some excellent jazzy fills to build up to the stunningly vibrant first opening instrumental section, guitar soaring and drums positively hitting every trounce at that place is to be hit and and then some, before introducing the beginning vocal section with some unpredictable riffing and building keyboard chords that all mesh together beautifully. The drums are going and so nuts underneath it seems once more like the train is going to run off the tracks but the ring keeps upwardly with him, driving forward with force and beauty like they've never done earlier. Nicholls' beautiful lyrics complement the music nicely. The ring finally slows downward later charging alee for a lovely 6/eight instrumental melody section with all instruments interplaying effortlessly. Nicholls' vocals in this section continue with the catholic spiritual theme that seems loose only intentional. It ends afterwards the vii infinitesimal marking, with the keyboard theme from the opening returning to lead the band into a more intense and complicated section as Holmes' guitar takes the atomic number 82 melody, and Cook's drums continue their ramshackle attempt to constantly be calculation fills while still driving the ring frontward and brilliantly succeeding. Durant's keyboards complement Nicholls' vocals nicely every bit the lyrics take a more sinister tone. Durant adds a tasteful synthesizer solo that doesn't overstay its welcome and fits perfectly with everything else. Drums remain in overdrive constantly urgently champing at the bit. The driving music settles down slightly, and the pianoforte and classical guitar duet with melodies every bit the drums slowly driblet out, and the clangorous bass synths conduct the music downward to its tranquility interlude section. Keyboard theme returns once again, with intermittent bass and bass drum thumps to remind united states the ring isn't gone, they're only resting. Pianoforte tune starts to creep in as Nicholls' voice sings us through the rest until the drums curl in to build to a new section, with synth tune taking over a la supper's set up and driving the vocal back up to a new tiptop. Following this, a glorious reprise of the opening section and cute 6/8 time department once more, with the organ truly shining while the bass riffs wherever information technology wants to, simply the sound of a band totally in sync with one another. The song winds down beautifully into classical guitar, a tour de force. In that location's a directly segue into?
Fire and Security: Weakest song on the album, simply a prissy creepy fiddling vocal with good playing and a good guitar solo
Perfect Space: I've listened to this song many times simply cannot pin it down. In eight minutes, IQ morph this song through so many stages its impossible to classify. More of that breakneck drumming, driving this song through. Extremely first-class playing from everyone, continuing the high h2o mark this anthology is setting.
Fallout: The final song on the 2d disc, and the 2nd 20 infinitesimal epic. This one is less climactic than a bit of a comedown for the album as a whole, which is a nice manner to end it. Ending on the corking spirit manner would be a bit clich�. A spacey opening section lads to a overnice song, and this vocal takes lots of unexpected turns. Lots of great guitar solos from Holmes, who has been mostly restrained throughout the album.
4.24 | 1339 ratings
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The Road of Bones
IQ Neo-Prog
Review by The Ace Face
From the Exterior In: huge stiff opener here, heavy riffing with all the instruments coalescing effectually the main riff to color the outside spaces with different melodies and textures, and then instead of sounding like a metal song information technology sounds similar a prog song. This new heavier style compliments Nicholls' phonation very well, whose tone seems to alter and sound angrier without losing its angelic quality. Neil Durant proves himself the new star of the ring, using many textures and sounds through out to flesh out the band's sound to a total and robust style. A slow section with great keyboards is among their best, and the lyrics seem more strange and paranoid than ever before. Dark, but tempered. Beautiful. The endmost section features keyboard and bass interplay that will come to characterize this new IQ era: creatively flourishing, shaking off the stagnancy that previously held them dorsum. Each instrumental section sounds new rather than similar an older vocal.
The Route of Bones: ane of IQ'south absolute best songs. Beautiful piano and keyboard set an incredibly spooky atmosphere, appropriate considering the title of the song. Next, Nicholls' vocalization enters with lyrics describing "my night's work", seemingly suggesting someone committed murder in the nighttime fourth dimension, and they grow to build out the creepy and night atmosphere. When the band kicks in, the drums and bass notice an incredibly funky groove that actually fits the atmosphere rather than distracting, and the vocal but BUILDs to the climax. Accented perfection, and hauntingly beautiful and dark lyrics. Absolutely masterful full band piece of work here.
Without Walls: A 20 minute epic, akin to Harvest of Souls, merely improve written and more tightly constructed. Showtime with a lovely piano theme from Durant, and a drum motorcar that actually fits. Very wistful and soft lyrics nigh losing your sense of order? Always difficult to describe, simply Nicholls is at his all-time here. Things accept a small-scale central plough before breaking into some heavy riffing and mellotron piece of work from Holmes and Durant. The bass yet again is nigh funky, continuing out in a way it hasn't before. Lyrics take a night turn to match the music, and the organ melody helps build the pre chorus and drive the energy up. Keyboard work is especially potent, adding choir mellotron and a syncopated synth tune to go on the atmosphere changing and darkening. Then the band drops out and Durant carries the side by side department entirely by himself, with at least 5 unlike keyboard voices developing dissimilar melodies overlapping. The bass and bass drum pulse eventually help only it's really Durant here. Stunning piece of work, seemingly boundless creativity. Acoustic guitar comes in for the side by side vocal section, while the keyboards and atmospheric guitars keep evolving the atmosphere surrounding Nicholls voice. Full ring kicks back in for a soaring guitar and synth trade off solo from Holmes and Durant earlier they sync up tune wise. The key is unlike and the tone is more than upbeat, simply the same keyboard patterns find their manner in, making this a truly cohesive piece with themes recurring in dissimilar contexts throughout. As the build becomes unbearable, the vocals drop out and the ring kicks into loftier instrumental gear, with a catchy time signature, guitar and synth parts billowy off one some other as the drums and bass keep things driving. Nicholls comes in for one more climactic soaring yell before the crashing climax comes, full of dissonant mellotron choirs and booming bass synths, before the final section hits, a reprise of the opening piano section simply, of course, as pompous and triumphant rock section consummate with guitar solo. Just perfectly executed form with the xx minute ballsy here, not a annotation wasted and incredibly tight writing and performing.
Ocean: lovely keyboard/xylophone voice? Tune opens up this shorter, mellow, but all the same lovely and splendid song. The pianoforte takes over the tune as Nicholls gives one of his most heartfelt just all the same ambiguous lyrical performances. Audio-visual guitar, bass synths, bass guitar, some artistic drumming, all these elements come together to brand a lovely piece. Neil Durant uses his keyboards with such a light bear on and perfectly complements the full band sound. Eventually he hits the organ equally the song builds slightly, and the sound is just perfect. Great little piece Until the Finish: typical keyboard mood setting intro, dark and atmospheric, with the guitar tune adding before Nicholls comes in, with his voice being contradistinct to fade in and out with dark tones. An eastern sounding set up of instruments, strummed and drummed comes in to begin to push u.s.a. forward. At the three minute marker exactly, the band kicks in, and Durant is once again the star with a magnificent organ sound, simply the bass shines also, create riffs and fills. The synthesizer swaps solos with guitar melodies equally the band stretches out in some of its best instrumental work on the album. Vocals come dorsum with the same tune ready over the more urgent music. A trickier and more than off kilter section follows, with the drums taking as prominent a role as the voice, and there is a seamless transition to the triumphant guitar melody that follows and will bring this vocal home to its conclusion with cute organ, singing, bass synths and guitar. The last few minutes take the band out and leave just piano and voice with a touch of classical guitar, beautiful and touching note to end the start disc on.
Now the 2d disc here is technically a bonus disc, but it's clear the band had hit such a creatively fertile menstruation they just kept firing on all cylinders, and I consider this a double album.
Knucklehead: Unexpected starting time hither with the bass getting funky again while the drums get a full conditioning of rhythms, patterns and beats while the keyboards for one time are the backing instrument. Acoustic guitar brings in the song. The way the vocals start 'and I can't go outside', as if picking upward midsentence, to me information technology suggests the happy catastrophe of the last disc wasn't all great, things keep going beyond a happy ending, life continues. Very prissy touch. Some very heavy riffing and keyboards follow. The guitars take on interesting tones here, keeping the creativity flowing. A fast paced heavy section follows with great syncopated beats from the guitar and drums while Nicholls' voice flies effortlessly across the height. We return to the acoustic showtime and funky bass with more driving instrumental to close information technology off. Nice rail, lots of new ground broken every song on this album.
1312 Overture: opening with a portion of the 1812 overture (haha) before the band drops right in with a tricky riff in a tricky time signature, choir mellotrons soaring overhead. Keen little song, instrumental with great playing from all.
Constellations: More artistic playing in the intro here, a unique time signature with the drums taking the pb, seemingly a theme on the 2d disc, with dissonant choir mellotron earlier the melody comes in brighter, and Nicholls trades lovely melodies with Holmes on the guitar. Neil Durant's arrival and the return of Tim Esau on bass seems to accept given anybody in the band a new spurt of inventiveness that doesn't fifty-fifty end with this album. This song goes through many archetype prog moments, and though IQ's sound always becomes familiar over the form of an album, the songs themselves are distinct and unique rather than same-y sounding. Great synth solo followed past an equally nifty guitar solo in the middle section, followed by a beautiful pianoforte and mellotron led song section. Following this is the triumphant ending department, but information technology oddly alternates to be slightly more off fundamental in some of the verses, again mayhap suggesting things aren't every bit dandy equally they seem? Great guitar and organ playing, and the final 2 minutes really build up only then the song just fades out, an interesting anti climax with no existent melodic resolution. Fall and Rise: A lower key song with some mystical keyboard melodies whose vocalisation I cannot identify, with the bass and drums once more having a more prominent part. Almost like this disc is the rhythm section getting to write songs and the others have to build on them. Bass especially is essentially the lead instrument hither. Classical guitar comes in for a fiddling, but the song is loose with a spacey feeling, with the absenteeism of electrical guitar creating a hole that actually is a plus for the song creatively, generating an entirely new feel. The song doesn't develop further than that, but gets past on creativity and mood. Great stuff.
Ten Million Demons: A boisterous synth tune sets the song up for a hard charging, darker and heavier rock song, fitting the title. Great melody, memorably creepy lyrics, more bass and drums leading with keys soaring, guitar almost absent merely information technology works. Weakest vocal on the album, just withal stands out from their textile as a whole. Hardcore: After an hour and thirty minutes of elevation tier, highest quality prog past some of the finest musicians working, you'd think IQ wouldn't have any gas in the tank for another ten infinitesimal mini epic, but the opening is as eerie and unique as ever, rapidly giving way to heavy riffing with the guitar and bass setting the mood. The heavy riffing only gets harder and more intense, practically sounding like Dream theater with less overall notes (hah). This gives fashion to a more than eerie slower department driven by multiple keyboard melodies and voices solitary, Neil Durant again showing he is a perfect add-on to the band. The drums and bass spring in to have this section to the end while Holmes plays a mournful guitar solo, with the bass in particular shining over again with riffs and licks to spare. Another sort of anti climax, as the melodies never really intensify or climax, just continue their mournful and sad progression until the fade out.
I've written plenty about this album. Get it. Information technology'due south an absolute masterpiece.
4.x | 974 ratings
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Frequency
IQ Neo-Prog
Review past The Ace Face
Frequency: a potent opener, instrumental opening section followed past a mellow electrical piano-led department, with Westworth taking an early leading role in setting the tone. Mike Holmes guitar notes soulfully sound off in the background, before he brings back the free energy with a lead guitar theme both eerie and beautiful. The vocal section is archetype IQ. Keys do great work, and the perennial mellotron choir audio is withal a staple. Expert driving energy to the end, but this is IQ just sort of doing what nosotros already know they exercise well.
Life Support: slower vocal, nice piano kickoff, alternating small and major keys, with Peter Nicholls in fine grade as usual, evocative and emotive. Close to halfway through turns into an eerie guitar led section, with synthesizer coming in as well. Skillful, but forgettable
Stronger Than Friction: A bright opening with good guitar, Nicholls singing once more on point. A beautiful middle slower section for this mini epic makes information technology stand out, cute audio-visual guitar and background keyboards. Leads to a dark and harsher section, leading to a bright upbeat finale. Again strong stuff, but goose egg we haven't heard before.
One Fatal Mistake: Overnice mellow carol, forgettable
Ryker Skies: Another mini epic, atmospheric keys and audio-visual guitar to set the mood. Say what you want nigh them, they know how to build up steam gradually in a song to make the climax kick that much harder. When this one kicks in information technology's a driving rhythm section and mellotron backing up some other great guitar melody. The lyrics are more than purposeful than usual, seemingly playing parts with characters, telling a story about a "hero" who has to make immoral decisions in some sort of dark system. Afterward this section progresses nosotros become some dark and melodic keyboards to lead united states of america to a slower audio-visual section.
The Province of the Rex: Longest vocal on the album, another mini epic with proficient shifts through different sections but nothing new. Frustrating and also good to listen to, an odd paradox.
Closer: A more mellow closing vocal, slowly building to a triumphant climax with proficient keyboards.
Overall, this is a pace dorsum after the excellent Night Affair stepped forward. I most take to call it lazy at this point, except information technology yet takes skill and professional musicianship to produce albums like this. I just wish they would develop their audio more.
4.05 | 986 ratings
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Night Matter
IQ Neo-Prog
Review by The Ace Confront
Sacred Audio: 1 of my favorite IQ songs. Starting with a typical ambient keyboard into, the melody kicks in with some clever time signature riffs and adept coaction between all the melodic instruments, combined with some of Nicholls' almost evocative lyrics in some time. The guitar melodies betwixt verses proceed things moving, and the second, more exuberant chorus keeps the vocal moving and changing, adding layers and levels. The short drop to a flute interlude before kicking it back up is a Genesis-y impact, but again, welcome fashion to go on the song'due south pace from growing stale. The lyrics are expressive, seeming to show some sort of stop of days time period and someone trying to find their manner through it all, despite hardships. Halfway through, they throw in a building riff that seems to call up Supper's Ready but works equally it'due south own thing, and then the obligatory slowdown section. This builds to a spectacular organ section, just superlative notch piece of work from Martin Orford who would sadly depart after this album, and a instrumental reprise of sorts of the beginning with some changes and good guitar work from Mike Holmes. Tight playing, great composition and fresh combinations of their typical sounds make for an all fourth dimension classic
Red Dust Shadow: immediately shifting into a lower gear, with Nicholls singing even lower than I've heard before. Doesn't stay that fashion for long though, alternating higher verses with lower ones and some expert playing on the rockier sections. Nice petty slice that stands out from their shorter ones for being dominantly audio-visual and quiet, and simpler without having to do besides much prog showcasing. That sounds counterproductive coming from a prog band/fan, but it works! What can I say. Great interplay between the mellotron and a bass-sort of solo in the closing section gives a unique feel to the song.
You Never Will: Another brusque track, starting with a menacing bass riff and an eerie vocal tune from Nicholls while the organ provides atmosphere and background. Alternating the dissonant/pocket-size key verses with a more major key verse gives it a good feel. A center section driven by Orford's many keyboard voices and soloing make it a highlight.
Born Brilliant: Tertiary and terminal brusk rail, some other menacing sounding bass throbbing riff is offset past Nicholls' melodic vocal. Not bad counterpoint. Nice mellotron voices providing background equally the guitar comes in at various points. Ane of IQ'south very common syncopated drum and bass riffs churns in, only adding to the existing elements every bit they all tie together in archetype IQ way. Weakest song on the album.
Harvest of Souls: The existent highlight of the disc, as always prog bands, the 20+minute epic is often where they exercise some of their best work. This is the showtime time IQ has attempted this since The Concluding Homo Gateway, in 1982. The Narrow Margin on Subterranea IS 20 minutes, simply serves equally climax to the story rather than a piece composed to stand on it'due south ain. Harvest stands in a league of it's own, with serious audacity: information technology'southward construction seemingly consciously apes that of possibly the most celebrated prog ballsy, Supper's Ready, while remaining it'southward own unique and inspired composition.
I. First of the Concluding: this opening section with chiming 12 cord guitar melodies and vocals is a lovely intro. The shift to a minor central is like, LITERALLY exactly what the opening of Supper'due south Ready does. and so... Two. The Incorrect Host: irksome only pompous rock with keyboard arpeggios is again, EXACTLY what Supper'south Set up does, merely that totally works as the audio is pure IQ, even if that means it inherently has some Genesis in it. Expert guitar melodies. This section takes a menacing turn into a harder driving section with lots of guitar workouts. There seems to be some sort of theme well-nigh attitudes glorifying and deifying America, peradventure with a darker side? The driving department becomes lyrical and drives us into a slower, more melodic section III. Nocturne: the guitars here are just perfect, sometimes two harmonizing but very elegant playing complementing Nicholls' vocals beautifully, which leads to another heavy and frenetic instrumental section, whose darkness bottoms out in crashing noises but to be alleviated by a vivid bouncy pianoforte and guitar tune. This is truly the piece of work of a band trying to milkshake itself up and make every note original. Iv: Frame and Class: lovely melodies and playing from all around, an uplifting section with inspiring lyrics about communication, seguing into a descending piano melody section that leads to V: Mortal Procession: heavy pounding riffs atmospheric mellotron in the groundwork leading to tricky time signature department driven by the organ and synth solos, recalling directly Supper'south fix's keyboard insanity climax, and then a reprise of the second section, again EXACTLY lifting from Supper's ready but even so it'southward own thing. Very hard to pull off but this band in this fine a course are the 1 to do it. This is the final section, called Ghosts of days.
This is ane of their best, hands down.
4.01 | 724 ratings
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The 7th House
IQ Neo-Prog
Review past The Ace Confront
The Wrong Side of Weird, great title, and suitable oddball opening synth riff, leading into a galloping section of driving rock that IQ does and so well. The bass especially shines here, providing the urgent pulse that keeps pushing it frontward. Very reminiscent of Ever's opener The Darkest Hour. Love how the synths soar especially loftier over the other instruments anchoring. Segues into a slower and slightly small key middle section with good piano work from Martin Orford, which builds to a dark and spooky section with some distorted guitar work from Mike Holmes before picking up the tempo once more to reprise the opening.
Erosion: classic keyboard intro, simply already IQ is recycling it's ain ideas. Again, these are great ideas but their formula verges on becoming dried with this album. Good build to the song, nighttime and harder edge with a good guitar solo. Solid equally e'er.
Seventh House is some other mini epic, with all the solid IQ elements.
Zero Hour is more mellow and laid back, with saxophone added because hey, why not. It works! Once again, all solid stuff.
Shooting Angels is where this album starts to drag, not bringing any new ideas by recombining old ones into another vocal.
Guiding Low-cal starts with a mournful piano tune, very good. The boring buildup and crescendo to the manic instrumental climax sets this ane apart a bit from the remainder, bringing some energy to the closer.
Overall, good just not essential. three stars.
three.99 | 724 ratings
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Subterranea
IQ Neo-Prog
Review by The Ace Face
This is the classic prog double concept album, about a human being who escapes into the globe from isolation due to an experiment, has various experiences and returns to the experiment to become revenge on those who put him through it. There are lots of great tunes and moments, but none actually stand out to me. It's a potent album, but non their best. Then it goes with IQ, who only really take two BAD albums, without Nicholls, and the residuum are all varying degrees of proficient- groovy-masterpiece.
iv.07 | 723 ratings
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Ever
IQ Neo-Prog
Review past The Ace Face
The Darkest Hr: INSTANT departure equally the instrumental opening re-establishes a distinct prog audio, not the awful 80s power ballad experience of the previous two albums. Slap-up driving work from the new rhythm section, and it's adept to hear Nicholls' vocalization again, soaring as it does over the lovely interplay between all iv instruments. Martin Orford's keyboards once again lead the way, establishing melodies and sounds that are imbued with sincere emotions and wondrous ideas. The ring's skill in effortlessly segueing into unlike sections in the song, shifting melodies and tones just so, is on display over again. The guitar is much more prominent than information technology has been in the past, which can simply be said to be a good thing.
Fading Senses: a dainty slower paced vocal that switches to an upbeat instrumental song halfway through. First half acoustic and gentle, second half guitar/keyboard alternate lead melodies.
Out of Nowhere: Good stiff rock vocal with prog riffs and potent melodies, if unremarkable.
Further Away: Longest vocal on the album, and similar to the opener, lots of time and fundamental changes, strong instrumental interplay. Closing section has a not bad organ audio, and great guitar melodies. Strong, but not groundbreaking, at to the lowest degree for them.
Spring of Religion: More of the same strong quality prog.
Came Downward: More of the same strong quality prog. If I'm repeating myself here, it'southward because this album, return to form every bit it is, is sort of all of the same piece, same sound, interchangeable songs. Skillful! Simply non transcendently great as would come later.
This is one of I.Q.'south albums that I consider to be practiced, only not excellent due to the sort of same-y sounding material. Doesn't stand out from itself or other I.Q. albums like The Wake's keyboard range or later albums will demonstrate. Any prog fan should have it along with most I.Q. albums, but I don't want to rank information technology quite every bit highly as others. 3 Stars.
ii.84 | 368 ratings
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Nomzamo
IQ Neo-Prog
Review past The Ace Face
Cheers to kev rowland for the artist add-on. and to Quinino for the last updates
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