Author: Peter Podbrežnik
Artist: IQ
Label: Vertigo Records
Release: 1987
Running time: 64:26
Rating: 3.5/5
The Brits in IQ were among the most important players in the new wave of progressive rock, and for a while, especially after the release of the brilliant »The Wake« (1985), it looked like they’d soon take the scepter from Marillion as the most exciting band in the scene. In the mid-eighties they were one of the few bands playing progressive rock with traces of the seventies prog giants, and it seemed they would only keep cementing their high musical artistry.
That didn’t happen, because guitarist Mike Holmes, keyboardist Martin Orford, bassist Tim Esau and drummer Paul Cook had different plans for the band’s future than charismatic singer Peter Nicholls. All of a sudden they wanted to steer IQ into somewhat more commercial, ‘pop’ waters, since cult status among prog revivalists no longer satisfied them and they wanted to bring their music to the masses too. Maybe the main inspiration for such a decision was Marillion, the only neo-prog act to land a big commercial breakthrough without selling the band’s soul in the process. The idealistic Nicholls didn’t buy into the new direction and chose to leave his pragmatic buddies behind.
In his place they brought in the talented singer Paul (P.L.) Menel, who had a voice somewhat similar to Nicholls’s and seemed a pretty good solution for the stylistic shift of the time, when they started working elements of new wave into their sound, but he lacked Peter’s charisma, theatricality and sense for intellectually refined poetry. Despite his undeniable vocal talent, Menel was missing that charismatic substance that made Nicholls, who had learned plenty from Peter Gabriel (ex-Genesis), so beloved among IQ fans.
The result of the sonic overhaul was »Nomzamo«, named after a small town in South Africa. This stylistically quite varied album had at least as much in common with symphonic prog as with new wave or pop rock, which means it was an unusual mix of musical styles. The opener »No Love Lost« is a perfect example of this ‘flirting’ with two different styles. The song opens with a mysterious, dramatic intro reminiscent of some past IQ standards. Layered synth textures take center stage, while Menel, with solid vocal backing, proves he was a pretty decent replacement behind the mic under the circumstances. The melodic, pop-rock chorus and relatively simple time changes show the band was sick of its old experimenting.
IQ were determined to create their (first) radio hit, as the next track, »Promises (As The Years Go By)«, shows: a nicely arranged piece with strong new wave elements and a lovely multi-voice chorus. With a tasteful closing guitar solo, Holmes proves that the radio-friendly approach hadn’t dented his virtuoso chops. Ironically, this kind of ‘pop’ direction put off plenty of old fans, while failing to reach the so-called MTV generation given the relatively poor promotion. Regardless, »Promises« actually became a minor radio hit in (West) Germany.
The title track blends elements of new wave and world music, mostly through Cook’s percussion, while Menel’s melancholic vocals manage to hold the melody together amid Orford’s symphonic curtains. The melodramatic twist in the middle section, which will still please every fan of early Marillion and Arena today, proves that even in their ‘pop’ phase they hadn’t forgotten how to play quality prog rock. Thanks to the synth sound in the closing section, they occasionally sound a bit like pop-era Genesis. »Still Life« is a somewhat tearful, rhythmically slow power ballad featuring a lively guest saxophone. Despite Menel’s good vocal performance and the harmoniously flowing symphonic curtains, the overall sleepy atmosphere doesn’t leave much of a lasting impression.
»Passing Strangers« was yet another not-so-well-thought-out attempt at an AOR hit, where IQ sound more like Asia than themselves. Once again the individual musicians, Holmes above all, are far more at home in the instrumental sections than in shaping the upbeat chorus, which doesn’t suit IQ at all. The schizophrenic »Human Nature« has aged pretty badly. It’s really a pop rock song stretched to nearly ten minutes and loaded with guest saxophone passages, which they really shouldn’t have allowed themselves if they wanted to sound even more like The Alan Parsons Project or Trevor Rabin-era Yes. In the middle section the classic IQ ‘wake up’ again, with Holmes and Orford getting plenty of room for their virtuoso showpieces, while Menel delivers the best Peter Nicholls impression he can muster. This is where the stylistic split of the neo-prog champions is heard most clearly.
On »Screaming«, ruled by electronically compressed synth textures, IQ manage to sound a bit like It Bites at times, which is both good and bad. Good, because they proved they can do ‘prog pop’; bad, because they completely sold out their artistic identity. »Common Ground« has a bit more of the recognizable IQ sonic finesse, thanks mainly to its dark, melancholic first half, while the second half brings an epic instrumental section where Holmes in particular enchants with sensitive improvisations. The bonus track, the love ballad »Colourflow«, with a guest singer joining Menel on backing vocals, is a pretty syrupy trip into pop rock, and listening to it pushes the saccharine level past the usual limit.
With »Nomzamo«, a hybrid of symphonic prog and new wave, IQ pulled off a fun but somewhat controversial sonic mutation that didn’t pay off for them in the long run, while the album predictably tanked commercially. With poor promotion, it was still too experimental, or too progressive, for the masses. IQ were determined to unite two musical worlds, which worked well in places, while some tracks have survived the test of time worse, and it’s hard to believe they come from the same band that recorded the previous two studio albums, since their artistic standards noticeably slipped. They carried on with this somewhat schizophrenic sonic approach on the next studio project too, and then the inevitable ‘sobering-up period’ arrived.
Lineup
Mike Holmes – electric and acoustic guitar, guitar synthesizer
Paul Menel – vocals
Martin Orford – keyboards, backing vocals
Paul Cook – drums
Tim Esau – bass, bass pedals, rhythm guitar, backing vocals
GUEST MUSICIANS:
Ray Carless – saxophone
Phillip Erb – Emu II programming
Micky Groome – backing vocals
Jules – vocal duet (9)
Production
Ken Thomas
Track list
1. No Love Lost (6:02)
2. Promises (As The Years Go By) (4:34)
3. Nomzamo (7:00)
4. Still Life (5:57)
5. Passing Strangers (3:47)
6. Human Nature (9:41)
7. Screaming (4:07)
8. Common Ground (6:59)
Bonus tracks:
9. Colourflow (5:26)
10. No Love Lost (piano and vocal version) (4:12)
11. Common Ground (live) (6:34)
