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▓█░ ░█▀ ▀█░ ░█▓
░ ██ ██ Artist: IQ ██ ██
▓ █░░ ■█ Album: Ever █■ ░░█
■ █▓▀ █ Year: 1993 █ ▀▓█ ░
█ ▓ Rel. Date: 2017-11-10 ▓ █
▒ ▒ Genre: Progressive Rock ▒ ▒
█▄ ░ Label: Giant Electric Pea ░ ▄█
░ █▄ ░ Source: CD ░ ▄█
░ █▓ Type: Album ▓█ ░
▓ █ Quality: VBR, 44.1kHz, Joint Stereo █ ░ ▓
▓ █ █ ░ ▓
▄ ■ ■ ▓ ■
░█ █░ ▀
█ IQ has been one of my all time favorite neo-prog █
█ bands and rates on an equal footing to the likes █
█ of MARILLION, PALLAS and PENDRAGON in my opinion. █
█ Ever is certainly the pinnacle album to have from █
█ IQ as it blends all elements delivering a well █
█ balanced, full concept like album. Musicianship is █
█ exceptionally high here with some great █
█ guitar/bass interplay covered by detailed, dark, █
█ symphonic synths which are surrounded by the █
█ detailed and solid drumming/percussion of Paul █
█ Cook. Peter Nichols delivers a solid vocal workout █
█ as well and brings in my opinion his best to the █
█ band here. █
█ █
█ --- █
█ █
█ Probably the best effort by IQ, a perfect balance █
█ in the middle between the mainstream exigencies, █
█ in the vein of a few bands from the UK, such as █
█ JADIS, and the Romantic style by the early █
█ GENESIS. A special mention for the following █
█ tracks: "Leap of Faith", in some circumstances █
█ resembling the instrumental section of "Cinema █
█ Show" by GENESIS, then "The Darkest Hour" and the █
█ mini-suite "Further Away". █
█ One of the best New-Progressive works of the █
█ nineties, except on a few discontinuous and boring █
█ parts. █
█ █
█ --- █
█ █
█ The musicians are very intelligent and very █
█ emotional here; they apply those 2 aspects in █
█ their songs: the result is a sentimental & complex █
█ album that makes you dream awaken! █
█ Out of 6 tracks, 5 are outstanding; the other one, █
█ "Out of Nowhere" is very good. This record is one █
█ of the best concretization of a modern and █
█ original continuation of the GENESIS of the █
█ GABRIELl-era. After you've got the post-MARILLION █
█ neo prog culture, it becomes clear that the IQ █
█ albums of the 90's do not sound like MARILLION! █
█ They have their own sound and style. While █
█ MARILLION's prog principles and structured songs █
█ have brutally switched for a shocking & █
█ disappointing style of music, IQ progressed, █
█ refined their sound & production, and actually █
█ they never gave up, stronger than ever after each █
█ album made, especially this one. █
█ This record contains VERY varied & professionally █
█ played keyboards parts. Unlike JADIS, Martin █
█ Orford does not only accompany the rest of the █
█ music; he absolutely produces unforgettable synth █
█ patterns, always melodic, magic, pleasant and █
█ emotional. The miscellaneous VERY melodic guitar █
█ solos and acoustic ones complete very well the █
█ sentimental and sophisticated omnipresent mood. █
█ Paul Cook's drums are, as always, excellent and █
█ varied. An interesting point is the bass: I really █
█ LOVE the very refined and subtle fretless parts! █
█ They fit so well with the other instruments! The █
█ bassist, John Jowitt, also played in JADIS: he is █
█ excellent here, never monotonous. Peter Nichols' █
█ lead vocals are very good, and the backing vocals █
█ are OUTSTANDING on "Came Down". I find the rhythm █
█ rather slow on most of the tracks: the musicians █
█ take the time to sound good and deliver emotions. █
█ IQ is a band that has always progressed, and it █
█ now seems they are at their best! EXTREMELY █
█ RECOMMENDED! █
█ █
█ --- █
█ █
█ IQ's masterpeice.Pete Nicholls returns and the █
█ band recover their purpose and direction.The █
█ songs,playing and production quality are of the █
█ highest with no real standout tracks but just a █
█ pleaure to listen to from front to back.A real █
█ desert island disc if EVER there was one! █
█ █
█ --- █
█ █
█ Although subsequent IQ albums would prove to be █
█ quite a match, none (IMHO) equal this masterpiece. █
█ Every single track on it has something magical █
█ about it and the album contains absolutely no dead █
█ moments whatsoever: it is pure genius from █
█ beginning to end. It's as if the band members had █
█ taken the best of everything they had ever written █
█ and compressed it all into a 50-minute CD. The █
█ melodies, the arrangements, the many twists and █
█ turns, everything here fits in neatly to produce █
█ an hallucinating effect and showcases an █
█ incredible array of musical colours that leave the █
█ listener speechless. These guys can turn your █
█ senses about so easily it's almost painful. █
█ Granted, Peter Nicholl's voice may not be as █
█ dynamic or powerful as that of a ROB SOWDEN █
█ (ARENA) or a STU NICHOLSON (GALAHAD), but I can't █
█ imagine anyone else doing such a fine job as he █
█ has done here. This music is genial, exhilirating, █
█ breathtaking. █
█ "Ever": the kind of album that makes you want to █
█ shout out loud 'Thank God for Prog!!!' █
█ █
█ --- █
█ █
█ I bought this album recently, after purchasing The █
█ Seventh House. (Already reviewed by me.) I had █
█ heard that this one is regarded by some as their █
█ finest album. Well, it is certainly a decent █
█ effort, and it is hard not to like it. The opener, █
█ The Darkest Hour, starts out briskly enough, with █
█ nice guitar over keyboard, then settles into a █
█ steady paced rhthym, overlaid with a pleasant █
█ melody. There are some hints of Genesis here, both █
█ guitar wise and vocally, but they are only faint █
█ ones. The song has some nice textures and changes █
█ throughout, and the keyboards fill out the sound █
█ smoothly. I suspect that Martin Orford is the █
█ dominant member of the band, although Peter █
█ Nicholls does have a distinctive voice and Mike █
█ Holmes is a technically gifted guitarist, although █
█ he remains in the background much of the time. The █
█ track ends quietly and the album moves on to the █
█ second cut, Fading Senses. This is divided into 2 █
█ parts, the first part being the vocal, which has █
█ some nice gloomy lyrics - right up my street! The █
█ second part is instrumental, and very melodic at █
█ that, well constructed and easy on the ear. Then █
█ comes the 3rd song, Out Of Nowhere, which is my █
█ least favourite on the album. Drums and keyboards █
█ fade in nicely, but then the guitar comes in with █
█ a blatant copy of Queen's Now I'm Here. In fact, I █
█ found myself singing the first couple of lines to █
█ it. Now I quite like Queen, but this riffing █
█ doesn't suit IQ at all. Once the song gets going, █
█ it is in fact not bad, but seems hastily put █
█ together, and is, in my opinion, the closest the █
█ band has come to 'filler' material. It seems █
█ almost 'poppy'. However, the next track is the █
█ epic Further Away, lasting nearly 15 minutes, with █
█ intricate changes and nice lyrics. A well crafted █
█ piece of music which shows the band at its best. █
█ All the musicians work well here, and the song █
█ ebbs and flows. A good one! Track 5 is Leap Of █
█ Faith, which is another favourite of mine. █
█ Although the melody is rather obvious, the guitar █
█ solo at the end is very well put together and is █
█ eminently listenable! This leads, finally, into █
█ the last track, Came Down. For some reason, this █
█ reminded me of Afterglow, off Wind And Wuthering. █
█ From the way it is lead into, to the pace and █
█ style of the song. Not bad however! My three faves █
█ are The Darkest Hour, Further Away and Leap Of █
█ Faith. None of this is essential, but I would have █
█ given it an extra half star if it had been █
█ possible. The Seventh Hour is far superior, in my █
█ opinion, but then everyone thinks differently! If █
█ there is such a thing as 'middle of the road' in █
█ prog, then IQ, and latter- day Marillion must be █
█ the leaders in it. The music is safe, pleasant, █
█ almost easy listening. Technically excellent but █
█ without providing anything new to the genre. Worth █
█ a listen though! █
█ █
█ --- █
█ █
█ Friends .. something has gone totally wrong with █
█ me: how come I've been reviewing 572 prog albums █
█ in this site and I never touched this master piece █
█ album? Oh no . this is a fatal error! In fact, █
█ this album means a lot to me because it remarked █
█ the return of my trust with prog genre in 1997 / █
█ 1998. Why? Practically after Fish left Marillion, █
█ I did not see any future of prog music and I was █
█ not aware at all by the time this album was █
█ released. Until one day I visited my old prog █
█ friend, Ricky, 's house in Bandung sometime in █
█ 1997/1998. He played me this album and it struck █
█ my head the first time he spun the CD for me. █
█ Fabulous music! I asked him on how he purchased █
█ the CD and he introduced me to Malcolm of Cyclops █
█ where I finally placed my order of this CD. Yeah █
█ man . prog's back to my life again after █
█ practically 5 years (or so) I was a passive prog █
█ lover. What I mean "passive" was that I still █
█ proggin' but I did not grow my collection - I just █
█ played old stuffs of Marillion first four albums, █
█ early Genesis, Pink Floyd, VdGG, Gentle Giant, IQ █
█ The Wake, etc. █
█ As I mentioned at my review on "ForEver Live", █
█ this album was uniquely released through a live █
█ performance that was recorded and released later █
█ in the double CD format of "ForEver Live". So it's █
█ a critical album as far as the band's career in █
█ prog music arena. The masterpiece of masterpiece █
█ of six tracks presented here is Further Away where █
█ the band admitted themselves that this song which █
█ consumes 14 minutes duration was hard to play on █
█ stage. They dropped this track to be featured in █
█ the live CD after long tension during rehearsal. I █
█ have to admit that this track is so powerful in █
█ terms of neat composition, multi-part structure, █
█ many tempo changes with very smooth transition. It █
█ starts off with a mellow and melodic opening of █
█ keyboard and vocals, augmented with innovative █
█ bass work by John Jowitt. The first three minutes █
█ is truly a killing melody with harmonious sounds. █
█ At the end of of three minutes part the music █
█ blasts off in heavy mode with powerful soft guitar █
█ riffs and dynamic basslines. The excellent sonic █
█ quality helps elevate the great nuance of music █
█ with jaw dropping drum line. WOW! What an █
█ energetic music man ..!!! The song ends up with █
█ another mellow part with floating keyboard work. █
█ Masterpiece! (Note: whenever I play this album I █
█ always repeat this track for 2 or 3 or 4 or 5 █
█ times. It's so rewarding my friend ..!) █
█ Nothing is good track in this album as each track █
█ is totally excellent PLUS or masterpiece. The █
█ opening track "The Darkest Hour" has a hard █
█ driving rhythm and pounding bass lines augmented █
█ with keyboards. This rocking track with heavy 70s █
█ prog touch is performed excellently by the band. █
█ The band then provides a slower track with "Fading █
█ Senses" which has a catchy melody using excellent █
█ combination of Nicholl's voice and long sustain █
█ keyboard work by Orford. "Out Of Nowhere" brings █
█ the music back into another upbeat tempo and high █
█ energy combining the work of drums, bass and █
█ keyboard nicely - in a sort of staccato style █
█ music. Powerful music. The two concluding tracks █
█ "Leap of Faith" and "Came Down" wrap the album █
█ excellently. These two songs also very strong in █
█ melody. █
█ It's actually not a concept album from IQ. █
█ However, listening (read: enjoying!) this album is █
█ like going through a series of parts in one █
█ cohesive story because the combination of melody, █
█ tempo, compositions and beats from one song to █
█ another have formed naturally like a journey, like █
█ following a story. I have no little complaint at █
█ all with this wonderful album; even the sonic █
█ quality is excellent. I always play this album █
█ with LOUD volume at my amplifier while reading the █
█ lyrics and sing together with Nicholls. It's a █
█ great joy, I tell you .. █
█ So, how would I recommend this album to you? █
█ Simple, GET IT man! Especially if you love █
█ symphonic prog with catchy melody in moderate █
█ complexity of the composition. Yes, most of IQ █
█ music are not complex but they are very enjoyable █
█ and accessible to many ears. This album is a █
█ masterpiece of neo prog album. HIGHLY RECOMMENDED. █
█ Keep on proggin'! █
█ █
█ --- █
█ █
█ IQ is one band I've really shifted position on █
█ over the last couple of years. While I'd █
█ previously dismissed all post-Fish Marillion █
█ neo-prog bands on the basis of some unfortunate █
█ encounters with Galahad and Pendragon, I was █
█ gradually won over to IQ's cause by the sheer █
█ power of their 2004 release Dark Matter. That █
█ album now stands alongside Marillion's best in my █
█ estimation, and it has caused me to investigate █
█ IQ's past with renewed vigour. █
█ Ever was my first stop, and despite being a decade █
█ older than Dark Matter it sounds almost like a █
█ sister album (lending weight perhaps to the █
█ accusation that IQ keep making the same album over █
█ and over again). The main strengths of IQ, in my █
█ opinion, are the vocal presence of Peter Nicholls █
█ and Martin Orford's keyboards, and they are very █
█ much to the forefront here. I'd have to say that █
█ overall though, this is clearly a weaker, less █
█ consistent album than Dark Matter. █
█ Although there are some strong (albeit █
█ occasionally pop-inflected) songs in Leap Of Faith █
█ and Come Down, this album can be quite █
█ frustrating. The Darkest Hour is rather meandering █
█ and Out Of Nowhere is outright 80s pop-rock █
█ cliche. It's safe to say that the shorter songs █
█ generally don't match the standards of the average █
█ composition on Dark Matter and there are, in fact, █
█ times when my old prejudice against the "overly █
█ synthy synthesizers, tinny drums and bland lead █
█ guitar sounds" of neo-prog resurfaces. █
█ Even when this album comes into its own, on the 14 █
█ minute centerpiece Further Away, the song drags on █
█ a bit. Still, it's surely one of IQ's best songs █
█ and gives notice of the kind of heights the band █
█ would later scale with Dark Matter. With an █
█ ethereal beginning (all swirly bells and light █
█ dancing synths) underpinned by (the oft-unnoticed) █
█ John Jowitt's delicate bass work, this piece is █
█ then led by Nicholls into much rockier territory. █
█ It threatens to get boring after a while, but an █
█ Offord synth special at the 7 minute mark █
█ threatens to turn the song on its head. █
█ Unfortunately the momentum is frittered away by █
█ the time the song concludes. █
█ Still Ever is not too discouraging an album, and █
█ indeed might make quite a decent entry point for █
█ the newcomer ... as long as they bear in mind that █
█ the best was yet to come! █
█ █
█ --- █
█ █
█ After a few years hiatus, Mr Nichols returned to █
█ the fold and the band recorded a near masterpiece. █
█ What I like most about IQ is the gothiness. Not █
█ many Neo-prog bands I can think of that compares █
█ to IQ when it comes to mixing a gothic atmosphere █
█ with a tinge of mid-period Genesis. With Peter █
█ Nichols sad vocals singing songs of longing tied █
█ in with Holmes Hackett-like guitar and Olfords █
█ fantastic keyboard work, you have a combination █
█ that, for me, is the best in the genre. The album █
█ starts off with a song titled, "The Darkest Hour", █
█ which actually is NOT the darkest. It's more █
█ upbeat, especially in the beginning, although █
█ towards the end it slides into a more gothic █
█ groove. The following track, "Fading Senses" has █
█ all the trademarks of classic IQ., Nichol's █
█ haunting lyrics coupled with Olford's church/choir █
█ keys gives you a forboding feeling. It's in the █
█ second section of the song that Holmes guitar has █
█ a sadness that reminds you of classic horror █
█ soundtracks, vampire-like and spooky. Really cool █
█ song! "Out Of Nowhere" starts out rocking and is █
█ catchy as heck. A great 5 minute track. "Further █
█ Away" is the longest track and has the sound that █
█ IQ would use for the rest of their career up to █
█ this day. Very Genesis like courtesy of Holmes █
█ guitar, you'll definately hear "Wind And █
█ Wuthering" throughout the song, but he does have █
█ his own style especially when he reaches the █
█ higher, soaring notes. A fantastic track with █
█ Olford going crazy on keyboards halfway through. █
█ "Leap Of Faith" and "Came Down" meld together to █
█ make up another long track. Nichol's best singing █
█ are on these songs, with "Leap Of Faith" another █
█ classic IQ track with that wonderful gothic █
█ feeling running throughout. Olford definately █
█ takes some cues from Banks on this track, (Listen █
█ at the 5 minute mark). Overall, you can't go wrong █
█ with this album. A classic in the genre and a good █
█ starting point for the new to neo-prog. Is it █
█ their best? Not yet, but it's damn close. █
█ █
█ --- █
█ █
█ IQ's album Ever ushered in the return of Peter █
█ Nichols to the lineup after a brief hiatus in the █
█ late 80s (in which they recorded two albums with a █
█ different vocalist, Nonzamo and Are You Sitting █
█ Comfortably?). This album also ushered in a return █
█ to the more progressive IQ, as their previous two █
█ efforts were more mainstream oriented and they █
█ lost the edge that they once had. What you can █
█ expect from this album is intricate and technical █
█ instrumental passages coupled with well timed and █
█ well executed vocal sections to create some of the █
█ most complex neo prog out there. The entire band █
█ shines, from the lush and melodic solos of Mike █
█ Holmes, to the keyboard wizardry of Martin Orford, █
█ to the precise and superb bass playing of John █
█ Jowitt, and to the technical and lush drumming of █
█ Paul Cook. This album is not their best, but it █
█ certainly is not their worst. █
█ The Darkest Hour opens the album strong with some █
█ solid riffing in 7/8 and some great keyboard █
█ textures from Orford. Once Nichols voice enters █
█ the song, the listener can already hear the old IQ █
█ come back. Add some solid guitar arpeggios from █
█ Holmes and some solid drumming from Cook. The █
█ chorus breakdown is a nice mixture of solid bass █
█ textures and some great synthesizer lines from █
█ Orford. Expect some solid and intricate █
█ instrumental sections for the rest of the 10 █
█ minutes, it's surely worth it. Fading Senses is a █
█ nice acoustic guitar driven tune. The grand piano █
█ also has a great theme, and the bass line is very █
█ well written. The middle of the song is where the █
█ group finally all kicks in. Mike Holmes gives a █
█ very dynamic guitar solo here before a strong █
█ chord based riff is presented. Martin Orford then █
█ gets his chance to show his skill and gives a very █
█ spacey keyboard solo before a strong keyboard █
█ based ascending riff is played. █
█ Out of Nowhere fades in with a strong 7/4 riff █
█ before a guitar based riff is played under Nichols █
█ vocal. This is one of the poppier tracks on the █
█ album, but none the less it is a strong song. █
█ Further Away is the second epic of the album, █
█ clocking in at around 14 minutes. A very keyboard █
█ based introduction is augmented with a fitting █
█ flute motif compliment of Martin Orford. Jowitt █
█ really shines during this introduction, giving a █
█ dynamic bass performance that couples well with █
█ the swells of Mike Holmes' guitar. Strong riffs in █
█ 6/4 that sounds reminiscent of one of the themes █
█ in Born Brilliant (or is it the other way █
█ around?). This is the opus of the album, with a █
█ spectacular closing instrumental section that █
█ really showcases the skills of Mike Holmes. █
█ Leap of Faith features some creative Holmes █
█ riffing and a more Marillion circa Script For a █
█ Jester's Tear sound in terms of atmosphere. A █
█ strong 7/8 riff is played the 3:30 mark; man do IQ █
█ love the time signature 7/8. The reprisal of a █
█ riff from The Darkest Hour is played here; this █
█ riff I speak of is in 5/8. Came Down closes the █
█ album with a melodic Mike Holmes solo and some █
█ very epic lyrics from Nichols. In the end, themes █
█ from the rest of the album are presented and █
█ played very effectively, giving the album a █
█ fitting ending. █
█ Overall, Ever was IQ's return to the status quo. █
█ They hit the mark again with this album and █
█ there's not much I can fault this album with, █
█ except that there really is no real invention in █
█ IQ's sound. But other than that, there is not a █
█ lot to dislike about this album. █
█ █
█ --- █
█ █
█ EVER, a 1993 entry from IQ, is my third █
█ acquisition from these quintessential █
█ neo-proggers, and provides me with yet more █
█ impetus to further explore the English band's █
█ catalogue: I've not been disappointed yet. █
█ Yes, this is another very strong album from the █
█ group who are arguably the strongest act working █
█ today in "neo progressive," the sub-genre which █
█ hearkens back to the classic prog of the 70s. █
█ Given that EVER is a neo prog album, there is █
█ really no "new" musical ground being broken here, █
█ but that's not why we listen to IQ. No, we don't █
█ play IQ to explore strange new musical lands █
█ (leave that, perhaps, to bands such as the Mars █
█ Volta, Godspeed You Black Emperor, Deus Ex █
█ Machina, and others). Rather, one listens to IQ to █
█ re-visit the pomp and magic of early prog - albeit █
█ through a modern sonic and technological filter. █
█ For my money, no current band can evoke that █
█ vaunted bygone era better than IQ. If you're a fan █
█ of classic "symphonic" progressive rock, and are █
█ open to discovering some newer stuff in the same █
█ vein, you need to get into these guys! █
█ Nor are IQ mere pale imitations (see Pendragon) of █
█ their honoured predecessors. Although their sound █
█ and inspiration clearly go back to acts like █
█ mid-seventies Genesis (as with Marillion, if there █
█ had been no Genesis, there'd likely have been no █
█ IQ - at least not in this form), IQ display enough █
█ originality and just plain strong songwriting █
█ skills to steer adequately clear of "rip-off" or █
█ "clone" territory. On this disc (as on others - █
█ see my reviews of THE WAKE and DARK MATTER), IQ █
█ push all of the right prog buttons, and at the █
█ right time. (Indeed, they show laudable restraint █
█ in not employing the entirety of their classic █
█ prog palate in every song. Unlike certain other █
█ popular neo acts, they know when to end a song - █
█ or album - and keep matters tight and focused.) █
█ There is prog rock power and polish to spare on █
█ EVER, in harmonious balance with generous amounts █
█ of real beauty, evocative lyrics that bear more █
█ than a cursory examination, and, as ever, █
█ top-notch musicianship and a deserving conviction █
█ in the material. █
█ Each of the six pieces here represents prog █
█ listening time very well spent, so I'll forgo █
█ track by track analysis, but to say that the █
█ fourteen minute-plus "Further Away" is truly epic, █
█ awesome and varied just as longer prog pieces █
█ should be. The last two numbers, "Leap of Faith" █
█ and "Came Down" (which dovetail into a unitary █
█ whole) are also especially good - there is a █
█ grandeur here that hasn't been so convincingly █
█ heard since before Hackett left Genesis, or ELP █
█ alienated many of their fans with the tangential █
█ excesses of their WORKS albums. █
█ From thunderous opening to majestic close, EVER is █
█ an album to play again and again. Symphonic and █
█ neo fans take heed: IQ is a band to listen to, and █
█ you just can't go wrong with EVER. Four stars: █
█ unless your prog listening sticks stubbornly to █
█ the 70s, you should have this delightful disc in █
█ your collection. Great stuff -- crank it up, close █
█ your eyes, and smile! █
█ █
█ --- █
█ █
█ After the commercial orientation taken during the █
█ Paul Menel late 80's years, this 1993 opus marks █
█ the return of historical singer Peter Nicholls as █
█ well as IQ's renaissance. I am not a neo-prog fan, █
█ but this record deserves some attention. "Ever" █
█ contains interesting and inspired moments and is █
█ probably the result of what would have happened if █
█ PINK FLOYD had made a child to DREAM THEATER (or █
█ the opposite...). █
█ The disc starts by stetting down a dark and magic █
█ atmosphere with "The Darkest Hour". It goes on █
█ with catchy guitar riffs reminiscent of RUSH. The █
█ melody is peaceful, alternating with mysterious █
█ and calm passages. "Fading Senses" contains two █
█ parts. The first one is quite enchanting and █
█ enjoyable, and the second part features an █
█ egyptian-like space metal riff. Mindblowing! "Out █
█ of Nowhere" has some DREAM THEATER's "Images"' █
█ accents and is a rather rocky tune. █
█ The 14 minutes epic "Further Away" features IQ in █
█ top shape! The introduction transports you in a █
█ fairytale place, to let a darker and heavier █
█ atmosphere take place. An heavy metal fantasy █
█ piece. Guitar and keyboards solos reveal knights █
█ and wizards. The final is pretty calm and spacey. █
█ However, the three last minutes are maybe █
█ unnecessary. The end of the disc is the weakest █
█ part. "Leap of Faith" contains interesting moments █
█ but sounds sometimes lazy and the last song "Came █
█ Down" is quite quite cheesy. █
█ "Ever" is IQ's most inspired effort during the █
█ nineties and features ones of their great epic █
█ tracks. Recommended to discover IQ or to DREAM █
█ THEATER and PINK FLOYD fans not into neo- █
█ progressive genre. █
█ █
█ --- █
█ █
█ It has been four years already since IQ have █
█ released their last studio album. With this one, █
█ we"ll be back to the roots. On both sides. █
█ First ; the old IQ sound is fortunately back ! █
█ Second : Peter Nicholls is again on the command of █
█ the lead vocals. Not that I disliked Paul Menel (I █
█ have already expressed my opinion about this in █
█ the appropriate reviews). So, I was really █
█ thrilled to discover this "old" new IQ album (do █
█ you follow me ?). █
█ We are immediately brought back in the mood of █
█ their early work with the opening number : "The █
█ Darkest Hour". It holds all the items IQ fans love █
█ (which are equal to the ones that their █
█ distractors hate). This great song is with no █
█ doubt reminiscent of Genesis, but IQ has never █
█ denied this filiation. When you see them played █
█ live, Nicholls's tone of voice will automatically █
█ remind you with the other Peter's one. But I guess █
█ that I must be a privileged one for having seen █
█ Peter with Genesis on stage (back in April 1975) █
█ and be able to compare. █
█ IQ is a band that I appreciate a lot. Live or in █
█ the studio. They bring me lots of emotion. Just █
█ listen to "Fading Senses" to hear what I'm talking █
█ about. This rather simple song is just beautiful. █
█ Peter sounding a bit sad and lonely, though. But █
█ so is he. And so I love him. █
█ If you ever would like to be sure about IQ's █
█ influence, I guess that the intro of "Out Of █
█ Nowhere" will give you the answer. "Watcher Of The █
█ Skies" man ! Since they are doing it with such █
█ respect for the band we all praised on PA, I can █
█ not even be worried with the similarity. Just a █
█ wink. There will even be an almost similar riff as █
█ in "Now I'm Here" from Queen (you know, the rock █
█ band) further on in this song. The finale though █
█ is again fully "Watcher" inspired. █
█ The second long song " Further Away" won't hold █
█ the untold promises of its lenght. Just another █
█ good IQ song, but no real and splendid epic. One █
█ could have hoped something more grandiose from IQ. █
█ It will hold its portion of emotion and Mike will █
█ display a very nice guitar break just ahead the █
█ finale which is fully Genesis oriented again. But █
█ it is a bit too short for an almost fifteen █
█ minutes song. █
█ One of my preferred song on this album is "Leap Of █
█ Faith". Very nice keys for this gentle song. █
█ Simple and effective. Mike will be great again █
█ during his finale solo. It will nicely flow into █
█ "Came Down" which will beautifully close the █
█ album. But the mood is a bit too much on the sad █
█ side and Genesis is too much present. █
█ I fully adhere to the fact that this enormous band █
█ (from 1970 till 1978) has been a major source of █
█ inspiration for a lot of bands, but still I would █
█ expect some more personality, even from IQ which I █
█ like very much. █
█ This album is of course much better than the two █
█ previous studio ones from the Menel days. Again, █
█ I'm not sure that this line-up would have █
█ generated better stuff in those difficult days █
█ (end of eighties). █
█ █
█ --- █
█ █
█ I don't think there is any doubt that the band █
█ came into the recording studio (to make this █
█ album) with a renewed passion and emotion. After █
█ all he was back wasn't he ? The "he" being Peter █
█ Nicholls who last sang for IQ on "The Wake" album █
█ some 8 years previous.They also had a new bass █
█ player for this one in John Jowitt, so you know █
█ there was a renewed energy and the creative juices █
█ were flowing. █
█ "The Darkest Hour" opens in such an outstanding █
█ way with keys, guitars and drums.They are back ! █
█ Then we get to hear the vocals of Peter Nicholls █
█ as he joins in. And i'm sure the faithful IQ fans █
█ (who hoped for this reunion of the band with Peter █
█ for some 8 long years) had a lump in their throats █
█ at this point.The waves of synths are great before █
█ the 6 minute mark, and the soaring guitar 8 mintes █
█ in from Holmes doesn't disappoint. Orford closes █
█ this song out with lots of piano melodies. "Fading █
█ Senses" is a mellow reflective song that is █
█ dominated by keys and vocals, that is until the █
█ change in mood 3 minutes in. When pounding drums █
█ and heavy guitar take over, as synths come and go. █
█ "Out of Nowhere" opens with the birds singing as █
█ drums and mellotron come in. We are treated to a █
█ good rhythm as bass, drums and guitar provide █
█ support to Peter's fantastic vocals.This is a █
█ catchy tune with some majestic mellotron after 3 █
█ minutes as well as later. "Further Away" opens █
█ with light keys and mellotron as vocals come in. █
█ This is a slow moving mellow tune until the drums █
█ signal a change 3 minutes in.The band sort of lets █
█ it rip ! They just rock out, it's great ! They do █
█ settle back to original melody before returning █
█ back to the uptempo soundscape. "Leap of Faith" █
█ opens with reserved vocals and light keys, the █
█ sound is heavenly 2 minutes in. Eventually the █
█ keys and guitar trade solos.This song blends right █
█ into "Came Down". It features these slowly █
█ pounding drums as a tasteful guitar melody is █
█ played. Vocals and synths arrive to add more █
█ beauty to the pastoral ending of this record. █
█ I'm not surprised to hear how many people rate █
█ this IQ album as their favourite. It is rather █
█ reserved, tasteful and beautiful. A triumphant █
█ comeback record for this great band. █
█ █
█ --- █
█ █
█ IQ's Ever marks the return of vocalist, Peter █
█ Nicholls and a more solid sound. After a few weak █
█ albums, IQ seems to have found their sound with █
█ this one. The Genesis and 70s progressive rock █
█ influence is more clear again and with Peter's █
█ voice back in the mix it seems IQ may have made █
█ one of the strongest neo-prog albums of the 90s. █
█ This is a very strong album by perhaps the most █
█ notable act in the neo-prog scene today. This █
█ album echoes back to the glory days of Fish-era █
█ Marillion and Gabriel-era Genesis. There's not █
█ really anything highly innovative going on here, █
█ but don't get me wrong it's still a good album. █
█ I'm very glad to see the return of Nicholls on █
█ this album, because in my opinion he is one of the █
█ essential ingredients to IQ's sound. He is one of █
█ the things that separates IQ from the loads of █
█ other Genesis and Marillion imitators. He has an █
█ operatic voice like that of Fish and Gabriel, but █
█ it also has a unique "twang" that makes it not █
█ just another neo-prog group, but IQ. █
█ However, I find that the great and unique sound of █
█ his voice is also one of the things that makes IQ █
█ weak at times. When I listen to their music I █
█ often find that a great deal of emphasis is placed █
█ on the vocals and lyrics. You might be thinking █
█ "so what, don't a lot of musicians do that?" but █
█ the problem is the music is somewhat sacrificed █
█ for vocals. Don't get me wrong there are still a █
█ good amount of catchy themes and guitar work, it's █
█ just I find the more interesting stuff goes on █
█ when Nicholls isn't singing. This isn't always the █
█ case though, which is most proved on Ever. Almost █
█ 100% emphasis is placed on the musical quality. █
█ The opener, "The Darkest Hour" is a great example █
█ of the overall sound produced by IQ. Starting out █
█ with a great 7/8 bass groove and keyboards █
█ harmonies, the track proves the band can be witty █
█ and dynamic while keeping a sense of emotion and █
█ good songwriting. It's unconventional, elaborate █
█ and cohesive, representing all of the aspects of █
█ IQ's prolific career. █
█ Production is excellent. The omnipresent keyboards █
█ and guitar with loads of delay offers a very clear █
█ 80s sound. Everything has a very live feel to it, █
█ like it's echoing throughout a stadium. The █
█ listener can feel the piano and clean guitar tones █
█ reverberating off the walls like they are in the █
█ midst of the greatest concert of their life. It is █
█ all very lush and very clear. █
█ They touch upon a various number of feeling and █
█ emotions as the album progresses from one song to █
█ another. Ranging from the jittery excitement of █
█ "Darkest Hour" to almost a sense of impending doom █
█ on "Fading Senses", this album is a trip for the █
█ listener. This is accentuated by the use of █
█ eccentric keyboard solos and pulsating bass █
█ grooves. These accomplished musicians give █
█ everything they have, which is one of the reasons █
█ I appreciate their style so much. █
█ Musical skill is not the top priority with this █
█ group, however. As good as the keyboard and bass █
█ player are (who I am most impressed by) they don't █
█ sacrifice sound for musicianship. The guitarist █
█ often shows his true lights through the winding █
█ guitar solos and crescendos. Unfortunately, I █
█ don't find that the drummer offers much to the █
█ dynamics here. Not many polyrhythms or syncopation █
█ here ladies and gentleman. █
█ Out of all the positive points I have mentioned in █
█ my review, there are a couple things that drag █
█ this album down significantly. At times the music █
█ can seem to be going nowhere as if the band █
█ doesn't have an idea of what to write next. █
█ Instead of cutting out the tedious parts they tend █
█ to leave them in, which drags the music on for █
█ longer than it should. An example of this would be █
█ the 14-minute "Leap of Faith". While it has some █
█ great themes and memorable moments, it just does █
█ not need to last 14 minutes. If condensed by a few █
█ minutes it may stand as a better, shorter song. █
█ The band can often be tedious, which is why this █
█ is a better album than the 100-minute Subterranea. █
█ The music often seems very dependent on the █
█ soaring keyboards as well. The guitar riffs are █
█ always low in the mix and offer more as filler █
█ than a vital contribution to the sound. As I said █
█ before as well, the drums only keep a constant █
█ backbeat and don't use much variation. This can █
█ tend to be boring for a non-progger. █
▓ ▓
▒ ▒
░ 1. The Darkest Hour 10:52 ░
░ 2. Fading Senses 6:35 ░
░ 3. Out of Nowhere 5:09 ░
░ 4. Further Away 14:30 ░
░ 5. Leap of Faith 7:21 ░
░ 6. Came Down 5:56 ░
░ 50:23 ░
░ ▒ ▒
▓ █ ░ ▓ ░
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