Author: Peter Podbrežnik
Artist: IQ
Label: Inside Out Records
Release: 2009
Running time: 62:02
Rating: 4/5
These days IQ are the most consistently high-quality, if not the most appreciated, band in neo-prog rock, but even the best can’t always guarantee perfection, as their latest effort “Frequency” proves. We waited almost five years for it with sky-high expectations, partly because of the sudden illness of their singer and lyricist Peter Nicholls. The “problem” with the new IQ album isn’t that they’ve slipped up at weaving their instantly recognizable brand of symphonic prog rock, heavily influenced by Gabriel-era Genesis, but that it lacks fresh ideas and recycles a few tricks we’ve already heard. With only rare exceptions, IQ don’t budge from their tried-and-tested songwriting recipe on “Frequency”, which at times makes it feel like they’ve finally stalled out in their artistic development. Despite an important lineup change, you pretty much know what you’re getting on your plate with “Frequency”, and most longtime fans will undoubtedly welcome it with open arms, while those who count on IQ as a driving force for fresh musical ideas will be a bit less thrilled.
That kind of criticism about the lack of sonic adventure and innovation is the only gripe, though, about what is in every other musical respect yet another excellent record that all fans of classic neo prog will lick their lips over. “Frequency” is another superbly structured album with plenty of fantastic symphonic arrangements and unexpected time-signature twists. Once again there’s no shortage of Nicholls’ highly emotional, theatrical vocals, which bring the dramatic lyrical themes to life, along with teasing guitar passages and solos from guitarist Mike Holmes. On top of that, IQ can still boast what I think is the best rhythm section in neo progressive rock, made up of bass guitar sorcerer John Jowitt and drum wizard Andy Edwards. As always, they’re incredibly convincing when it comes to unexpected and dramatic rhythmic turns.
In the period after the release of the excellent previous album “Dark Matter” (2004), which many fans saw as the peak of their discography up to that point, IQ said goodbye to longtime keyboardist Martin Orford, who was replaced by Mark Westworth. Contrary to some fans’ fears, Orford’s absence is barely noticeable on the album, even though Westworth is a bit less convincing when it comes to solo creativity and imagination in laying down keyboard textures (he’ll surely grow into that over time). What matters most, and what has always thrilled people about IQ, is that across most of the compositions on “Frequency” they manage to conjure up grand, often post-apocalyptic but also more optimistic moods that nobody can stay cold to. Most of Nicholls’ lyrical themes revolve around the danger of nuclear catastrophe amid a lack of proper communication between people, and the loneliness of a gifted individual within a dehumanized modern society.
The title track, which opens on mighty waves of Mellotron and a hypnotic bass line, before melodramatic Holmes guitar passages and synth textures spark a sudden dramatic turn, makes for a thoroughly convincing album opener that slips under your skin with ease. The moment Nicholls’ richly emotional and highly poetic vocals come in, the story comes alive: a tale of missing communication frequencies in modern human relationships. In between flow typical IQ symphonic stretches laid over ambient keyboard textures and Holmes’ melodic guitar passages, which together create a highly dramatic mood, something that has become indispensable in this kind of band over the years and still has the desired effect. This is a composition that will undoubtedly become a staple of their live set.
“Life Support” opens as a gentle ballad, where Mr. Nicholls wins you over with an exceptionally mature and heartfelt vocal performance over piano accompaniment. After the groundwork is laid for more complex feats, an excellent instrumental section kicks in, co-shaped by Holmes’ weeping guitar phrases, Westworth’s high-frequency-tuned synth parts and Edwards’ massive drum fills. The end result of this collective jamming is a chilling atmosphere, of which there’s plenty on “Frequency”, and which fits Nicholls’ sophisticated, gloomy lyrics perfectly. The more-than-ten-minute “Stronger Than Friction” (on the tour before the album’s release this song was called “Crashed And Burned”) is a classic progressive rock symphonic epic with plenty of band-trademark touches, meaning you can hear the gradual build-up of an epic atmosphere through crafty rhythmic tricks, grand symphonic arrangements and a theatrical vocal performance. Despite a length that could make individual motifs repetitive, it’s a nicely structured piece with plenty of unexpected mood shifts. A brutal middle section, heralded by the sound of a police whistle, is somewhat reminiscent of the unforgettable “Harvest Of Souls” from the previous album, before they return to brighter ambient spheres.
The end of this excellent piece flows smoothly into “One Fatal Mistake”. Here we’re dealing with a splendid acoustic ballad backed by arrangements that are simple by their usual standards. Nicholls once again enchants with his excellent, deeply emotional singing, even though the whole thing, with the central melody up front, damn well reminds you of one of those legendary Gabriel-era Genesis ballads. On the epic “Ryker Skies”, easily the most interesting piece on the album for these eternal progressive rock adventurers, they show the most innovative moves and fresh directions compared to the tried-and-tested recipe that earned them the rather merciless criticism in the opening part of this review. You could say this track takes them in some new songwriting directions, which is a nice surprise and a good sign for the future. After a long intro they surprise with some seriously punchy passages that sit well against the slow, chromatic-sounding vocals. Westworth nicely stretches his muscles here with a drastic keyboard solo and proves he has no intention of staying in his predecessor’s shadow.
The more-than-13-minute epic “The Province” is the most ambitious and sprawling piece on the album, and another demonstration of effective flirtation with the glorious legacy of seventies symphonic prog. The mood of this excellent composition keeps shifting, from completely calm to punchy and at times even paranoid moments. Much like “Life Support”, it opens with subtle vocals and a gentle acoustic melody, followed by punchy guitar passages and raging bursts of drumming. Along the way, with acoustic motifs, Mellotron curtains and mysterious vocals, they build a first-rate ceremonial atmosphere. After a brief lull in the second section comes another cataclysmic instrumental bomb with plenty of witty synth passages. Before the calm ending they’re joined by weeping guitar passages that create majestic harmonies that easily give you goosebumps. In every respect it’s another top-notch symphonic prog rock epic of exceptional ambient intensity and one of the album’s highlights. The closing “Closer” is a drawn-out acoustic ballad and easily the weakest piece on the album, not to say a disappointment, since it falls below their usual standards. A promising ambient intro is followed by a development that doesn’t live up to expectations at all, as the melody goes nowhere while repeating the same motif. The only bright spot is Nicholls’ singing, which, as always, is excellent in conveying deep emotion. In my opinion, this botched effort would have come off a lot better if it had been trimmed a bit.
Despite reworking a tried-and-tested recipe, “Frequency” is another excellent album where longtime IQ fans will find plenty to be happy about. With so many high expectations, it was hard to follow up a masterpiece like “Dark Matter”, but they gave it their best anyway and made an album that matches the wishes of their loyal fans. You won’t find any drastic innovative moves. In every other respect the album shines for most of its running time. “Frequency” isn’t free of ups and downs, since not all the compositions are of the same quality, so I’d be exaggerating if I called it yet another masterpiece. The IQ crew managed to tune their latest effort to just the right frequency to successfully satisfy the appetites of their loyal fans, for whom the band members know exactly what they demand. Those who happened to be expecting any special surprises will be left more or less empty-handed after “Frequency”, and would do better to spin one of the classic Genesis albums instead.
Lineup
Peter Nicholls – vocals
Mike Holmes – guitar
John Jowitt – bass guitar
Andy Edwards – drums
Mark Westworth – keyboards
Production
Mike Holmes
Track list
1. Frequency (8:29)
2. Life support (6:28)
3. Stronger than friction (10:32)
4. One fatal mistake (4:54)
5. Ryker skies (9:45)
6. The province (13:43)
7. Closer (8:11)
