Artist: IQ
Label: Giant Electric Pea
Release: 2000
Rating: 4.6/5
After the peak of their career (the double concept album Subterranea), IQ could easily have fallen into a creative slump. They might have ended up trying to repeat what they’d pulled off on Subterranea. Luckily, IQ were at the height of their powers back then and had no shortage of creative drive. They decided not to repeat themselves and to try making something new instead.
Once again, Orford and Holmes took the reins of pre-production and production. Holmes made another big contribution on the production side to the record’s quality, dynamic sound, which feels new and fresh without being overly sterile.
Officially, The Seventh House isn’t a concept album, but certain elements suggest it could be one, at least in part. Some melodies come back several times throughout the album (for example, one melody on The Seventh House and Guiding Light is the same), and some of the vocal parts are linked too. Still, Peter Nicholls insists the album has no story as such, and that if it is a concept album, the connection is far more obscure and vague.
The start of the record already signals that this won’t be a typical IQ release. After the keyboard intro it seems like some techno is about to follow, but before long IQ slip into their recognizable patterns. Wrong Side of Weird is an incredibly complex piece structurally, and it already hints at a heavier, almost metal sound that some of the following tracks will only cement.
That already happens on Zero Hour, which admittedly starts off pretty slowly, but in the middle of the song Holmes rips out some jerky metal riffs, followed by an instrumental section that peaks when the mighty mellotron joins the other instruments.
Much like Gates of Delirium (Yes), The Seventh House is about the absurdity and senselessness of war. The opening guitar parts strongly recall Hackett’s work with Genesis in the Selling England by The Pound era. Later, heavier hard rock guitars kick in and carry the song into a new section. Orford plays some outstanding piano parts and synth solos, and there’s no shortage of Holmes’s trademark guitar interludes either. As on other pieces on this album, the opening melody comes back here too, only this time played with more edge and rawness. Nicholls especially shines, pouring his heart into the vocal parts.
Zero Hour makes it clear from the start that it’s going to be more of a pop number, a very good one, but pop all the same. Holmes’s splendid guitar in the closing instrumental section luckily adds exactly what the song was missing.
Shooting Angels sounds like the song that fits the album least. It’s a fairly botched attempt at making pop music. A few bits are interesting, but otherwise it’s pretty dull and uninspired. Neither the sax nor Nicholls can save this one.
And to finish, a real treat that begins with one of the most beautiful vocal and piano melodies ever. The dialogue between Orford and Nicholls is heartfelt and hits you right in the gut. The song could easily have ended at the three-minute mark, but IQ wanted to make something more than just a gorgeous ballad. Plenty of other bands would have spoiled the impression of that excellent opening from there on, but IQ carry on superbly. There’s no letting up, there are plenty of typically IQ-style rhythm and tempo changes, and at the end the lovely opening melody returns.
As on Subterranea, the band drifts a bit away from the neo sound again. There are more symphonic parts, a touch of progressive metal, experimental and ambient music, classical,… In short, IQ once again stepped away from their established patterns and created something original, while still keeping a recognizable style.
This time around, it’s Mike Holmes who stands out most on the album, adding some metal touches to his splendid flowing lines. Steve Hackett’s influence is still noticeable, but there’s some flirting with progressive metal too. Orford isn’t very far up front, but his keyboards are still hugely important, since he often uses them to build the atmosphere. There’s less soloing than before; his parts are subtler and more refined. Given that The Seventh House is a heavier record, it’s no surprise that John Jowitt’s contribution is almost as strong as Holmes’s. His bass lines are fast, punchy and at times jerky, but always right where they should be. Paul Cook may not be the most technically accomplished drummer in the business, but he’s a perfect fit for IQ. Their music doesn’t need a drumming circus à la Mike Portnoy, so a restrained style is more welcome. Since Orford contributed no flute again this time, old friend Tony Wright is back on sax on a couple of tracks, freshening up music that already sounds fresh. Finally, there’s Peter Nicholls, who gets better with every album. His voice is like fine wine – the older it gets, the better it sings.
On The Seventh House, Peter Nicholls once again proves his top-notch ability not just as a vocalist but as a lyricist. His mix of love themes, metaphysics, loss, pain and whatnot has never sounded so fluid. Again there are plenty of parts that are beyond me, but I’m used to that with him. I’d rather concentrate on the bits I can unravel and leave the rest alone. Anyway, the great Mr. Nicholls himself has said that sometimes even he doesn’t know what he’s trying to say.
Compared to the other releases, The Seventh House is a bit more guitar-driven, so it’s hardly surprising that this is the album Martin Orford isn’t too fond of. Maybe it was exactly this kind of “injustice” that led to his departure from the band (though only in 2007). Frustration probably kept piling up until one day it boiled over and he simply couldn’t go on. Despite Mr. Orford’s reservations, I personally think this is a superb record that can hold its own against anything else in their discography. The title track and Guiding Light alone would be enough for me to call the album a masterpiece, but on top of that you get the excellent The Wrong Side of Weird, Erosion and Zero Hour. Only Shooting Angels lacks real punch, but what are a few minutes against three quarters of an hour of pure enjoyment?
Line-up
– Peter Nicholls: lead and backing vocals
– Martin Orford: keyboards, backing vocals
– Mike Holmes: guitars, keyboards
– John Jowitt: bass, backing vocals
– Paul Cook: drums and percussion
– guest: Tony Wright: saxophone
Production
Mike Holmes
Track list
1. The Wrong Side Of Weird (12:24)
2. Erosion (5:43)
3. The Seventh House (14:23)
4. Zero Hour (6:57)
5. Shooting Angels (7:24)
6. Guiding Light (9:58)
Running time: 56:49
