IQ

Dominion arrives six years after Resistance, making it one of IQ's most anticipated albums... Mike Holmes has clarified that many other tracks were written but set aside to preserve artistic unity. This shows how carefully each track was chosen! With "The Unknown Door," IQ opens the doors to a new masterpiece. I don't know what exactly I was expecting when I launched "The Unknown Door," the opening track from IQ's new album Dominion. But certainly not this. Not this immediate thrill. Not this dazzling return of everything that made me love The Road of Bones, with this little something extra: an even more refined maturity, a more muted tension, a more immersive narrative. Because yes, IQ is back, and they're not just prolonging their legend? They're elevating it. From the very first seconds, the song establishes an atmosphere that is both mysterious and heavy. We find this signature style so characteristic of the group: the dark and enveloping keyboards, a tense rhythm that advances with determination, and this voice? always the voice? of Peter Nicholls, which seems to emerge from the mists to tell us something crucial. He does not address us: he takes us along. "The Unknown Door" is both a journey and a warning. The sonic textures are rich, dense, but never stifling. The piece takes its time (more than 10 minutes!), but it never drags. Each sequence evolves, transforms, becomes tense. There is something almost cinematic in the way IQ constructs the rise: a progressive narrative, which advances scene by scene, without ever getting lost. What is most striking is the quality of the production. Everything is clear, each instrument finds its place. The guitars are sometimes sharp, sometimes ethereal; The keyboards, meanwhile, paint post-apocalyptic landscapes that look like something out of a science fiction film. We sense a band that has mastered its craft, but refuses to rest on its laurels. The instrumental break in the middle of the song is a pure moment of grace. Where many bands sprawl, IQ condenses emotion. The harmonies are subtle, almost unsettling. And when the vocals return, it's to remind us that this song is a gateway to something bigger, to an album that promises to be ambitious, dark, almost conceptual. As someone who's not really familiar with prog, I'm always amazed by how IQ manages to make this genre so fluid, so emotional. No need to understand all the time signatures or references: the music speaks directly, without detours. And this song is the perfect example. He takes your hand, shows you an unknown door, and simply says: "Come in, we don't know where this is going, but you won't regret it." "The Unknown Door" isn't something you listen to; it's something you experience. It places you in an almost meditative state, then shakes you up, gently but surely. And when the last note rings out, you're left there, a little drained, a little fascinated, with only one desire: to hear what happens next.

After the hypnotic shock of "The Unknown Door," IQ continues with "One Of Us," a track that's brighter on the surface, but just as subtle and nuanced in its construction. It's a welcome contrast, almost like a breather after the tension of the opening. But be warned: with IQ, even "accessible" songs are emotional labyrinths. From the very first bars, we sense a more direct, more fluid melody, almost pop in its hook?and yet, the layers pile up very quickly. A round bass line, supple drums, keyboards dancing discreetly in the background. And once again, that voice of Peter Nicholls, still as inhabited, but here softer, almost benevolent. It's as if the band is saying to us: "You're part of the journey now, let yourself be carried away." The chorus is a true melodic gem: simple, immediate, but never banal. IQ achieves a rare balance here in prog: that of not sacrificing emotion for complexity. There's an almost radio-friendly side to this song?which doesn't mean commercial? but rather universal. You can listen to it without being a fan of the genre, without knowing the band. It still speaks to you. But IQ wouldn't be IQ without a few surprises. The second half of the song opens with a rich, more contemplative instrumental variation. We find this finesse in the textures, these production details that make each listen different. And when the melody returns, it's with a new weight, a reinforced emotional depth. "One of Us" is the perfect introduction for those new to the band. A more accessible track, yet one that retains that unique identity: a balance between light and shadow, between restraint and intensity.

If "The Unknown Door" was the solemn opening to a dark universe, and "One Of Us" a more melodic clearing, "No Dominion" closes the opening triptych with a discreet but relentless punch. It's a shorter, more compact piece, but also more urgent, almost nervous. As if the tension built up in the first two tracks ended up overflowing here. From the first seconds, the rhythm is more direct, drier, and the tone is set. We feel a form of dull anger, contained in Peter Nicholls' voice, which here seems less introspective, more frontal. The guitar is more present, incisive, and the keyboards weave a taut, almost threatening sonic carpet. There's something post-punk in the way the instruments converse? A nervous modernity that contrasts with the classicism of prog. But IQ never goes for pure rupture: it's all about controlled contrast. Even in this new intensity, there are moments of respite, furtive melodic reflections, like memories of a lost calm. The chorus, in particular, retains the band's typical ability to capture an emotion in a few notes. "No Dominion" acts almost as a declaration of intent: this new chapter for IQ will be neither comfortable nor predictable. The band rejects all domination? in both the literal and symbolic senses. We sense here a desire to assert an identity that is always in flux, to tell the audience: "Don't put us in a box, we are alive, and we are moving forward." This track marks a controlled break in the album, a tenser, more electric turn, which undoubtedly heralds darker corners to come. And it does so without chatter, without artifice. In less than five minutes, IQ reminds us that they can also hit fast and hard? And that even in its conciseness, their music can leave deep traces.

With "Far From Here," IQ offers us a poignant and introspective interlude, almost suspended in time. After the electric tension of "No Dominion," this track acts like a deep breath, a necessary pause, but tinged with profound melancholy. Here, the power comes not from the instrumental flourishes, but from restraint, silence, and naked emotion. From the very first seconds, we are struck by the apparent simplicity of the track: a soft piano, subtle keyboard layers, and Peter Nicholls's ever-disturbing voice, poised and fragile. Everything is slow, stripped down, as if the band wanted us to stop for a moment and look back. And it works. Immediately, we are transported "far from here," as the title suggests. Far from the chaos, far from ourselves perhaps. But this gentleness hides a great emotional intensity. The main melody is disarmingly beautiful, with a chorus that tightens the throat without ever falling into pathos. IQ excels here in the art of expressive restraint: no need to overdo it to touch the heart. Each note seems weighed, each word chosen with care. There is something almost cathartic about "Far From Here." This track is reminiscent of a lunar stroll, a moment of floating between two storms. We find a bit of the soul of Harvest of Souls or Closer, but with even more tenderness and maturity. It's a song that could stand on its own, but which, inserted here in the album, takes on its full meaning. It acts like a slow heartbeat, a space to breathe, reflect, feel. And then, towards the end, a few notes rise, like a discreet hope. IQ never lets sadness completely take over. There's always that discreet glimmer, that tenuous thread that connects us to something larger, something brighter. "Far From Here" may be the album's most accessible track, but it's no less profound, sincere, and essential.

"Never Land" is at once a conclusion, an apotheosis, and an enigma. This lengthy piece, over 19 minutes long, closes the Dominion album with a rare ambition: to embrace everything that progressive rock has to offer, while remaining profoundly human. From the introduction, we feel we're entering a more introspective, almost spiritual territory. The first notes hang, almost silent, like a held breath. Then, slowly, the piece unfolds. We find all the faces of IQ: melodic melancholy, emotional surges, instrumental flights, motifs that intertwine and echo one another. But what's striking here is the time given to each idea. There's no rush. Each movement seems to live its own breath, in a fluid and immersive musical narrative. Peter Nicholls's vocals are particularly touching on this track. We feel him on the edge of a whisper, then carried by the waves of sound, always in tune, always expressive. There's a discreet theater in his voice, a way of conveying emotion without overplaying it. "Never Land" is a mental territory, an elsewhere. We hear the band's past, their neo-prog roots, but also a form of contemplative modernity. The song explores areas of light and shade, with transitions as natural as they are surprising. The finale, especially, leaves a sense of gentle grandeur, a suspended farewell, as if the album weren't really ending, but letting us continue alone, with everything we felt.

With Dominion, IQ delivers an album of rare coherence, chiaroscuro, magnetic and moving, shot through with constant emotional tension. Each track explores a different facet of their universe, in a subtle balance between sonic density and melodic grace. IQ isn't seeking to shine technically, but to tell a story, to make it felt. The production is clear, the arrangements are polished, and each track acts like a chapter in a larger narrative. Dominion is an album that can't be listened to in one go: it's experienced, and leaves a lasting impression. The production is clear, the arrangements are polished, and the performance is remarkably precise. Peter Nicholls delivers one of his most captivated performances, while the instrumentations of Holmes, Cook, Esau, and Durant weave a dense but never stifling web. You breathe in this album. You live in it.

And perhaps the most beautiful thing is that Dominion is profoundly accessible. You don't need to be an expert in the genre to appreciate it. Every fan of demanding, melodic, and narrative music can relate to it. It's a work that deserves to be heard, yes, but it never closes the door on you. Quite an achievement for a band that will celebrate its 45th anniversary next year, and that has never been so prolific!

The Road of Bones: When Progressive Rock Grabs You Without Warning 😁

I'll be honest: I wasn't a fan of progressive rock at all. For me, the genre evoked endless songs, endless technical solos, and sometimes obscure concepts. I liked rock, yes, but it was more direct, raw, and effective. My musical world revolved around more classic vibes: grunge, alternative rock, a few touches of metal, and a fair bit of Britpop. So when, one evening while browsing YouTube, the algorithm decided to suggest a track called "The Road of Bones," I wasn't expecting anything. Especially not such a monumental musical slap in the face.

The track starts slowly, like a sonic fog settling in. A dark, almost cinematic atmosphere. Then Peter Nicholls's voice arrives, calm, deep, and perfectly controlled. There's a constant tension in the first few minutes, as if something was about to explode, and that's exactly what happens. The song picks up steam, the drums become more prominent, the keyboards soar, the guitars cut through the silence... and then, without warning, I found myself completely drawn in.

This self-titled track introduced me to much more than just a band: it opened the doors to a musical universe I'd always dismissed without ever giving it a real chance. So I dove headfirst into the entire album, The Road of Bones, released in 2014. And, without exaggeration, I think it's one of the most coherent and memorable records I've heard in the last ten years.

This isn't IQ's first attempt: they've been a pillar of British progressive rock since the '80s. But here, everything is modernized, sharpened, and aimed at a balance between musical complexity and emotional accessibility. Prog is never an excuse to dwell on anything: each track has a thoughtful structure, well-crafted crescendos, and above all, a unique atmosphere.

Take "From the Outside In," the album's opener. It's a song that, in another context, could have passed for an excellent alternative rock track?except that each arrangement, each build-up is mind-blowingly subtle. The guitars are rough, but never overwhelming. The layers of keyboards add dramatic depth. And always that voice, both fragile and powerful, guiding us through the meandering sound.

Then come tracks like "Without Walls"?over 19 minutes of music??and I swear I never looked at my watch. As a radio-friendly fan, I found myself living every second, every transition, every silence with passion. It's not a song: it's a journey, a story. Pink Floyd springs to mind, of course, but also Marillion, Steven Wilson, or even certain concept albums by Muse or Radiohead. Except that here, IQ imposes his own style, elegant and tense, almost theatrical.

What moved me about this album was the emotional power of the melodies. Far from being coldly technical, the tracks on The Road of Bones are inhabited. There's something human, melancholic, sometimes desperate, that constantly surfaces. Even in the most daring instrumental passages, we feel a narrative thread, a desire to make us live an experience, not just to demonstrate musical expertise.

And the craziest thing is that this accidental discovery led me to listen to the rest of their discography: Subterranea, Frequency, The Seventh House, Dark Matter, Ever? Each album has its own color, its own atmosphere, its own cult tracks. But The Road of Bones remains, for me, that ideal gateway: dark, intense, accessible without being simplistic. It's the album that reconciled me with prog, that even made me want to discover more, to understand the roots of this genre and its modern evolutions.

Today, I find myself recommending IQ to my friends who listen to Tool, Porcupine Tree, or even Arctic Monkeys. Because this album transcends labels. It's not just for prog purists. It speaks to anyone who loves well-crafted, sincere, and vibrant music. To those who want songs that take their time but never lose focus. To those who, like me, thought prog rock was "not for them."

And today, the icing on the cake, I have the opportunity to see them live in Paris. IQ will be at the Casino de Paris on September 26 and 27, 2025, as part of ProgRockFest, for an exceptional weekend where they will play tracks from The Road of Bones, as well as their newly released album, Dominion. Needless to say, this concert has a very special flavor for me: that of the meeting between an unexpected discovery and a growing passion. If you like music that transports you, that tells a story, that dares to be intense without sacrificing melody, don't miss this chance to see them live. I never thought I'd say this, but this progressive rock band has completely changed my vision of music. And I plan to experience it live, surrounded by other curious souls.

All this to say that this album should, in my opinion, be much higher in this ranking which reflects the lack of notoriety of a group which is nevertheless exceptional and which has delighted us for more than 40 years!

IQ's latest studio album seems to me to be another concept album meditation on death; they've had past form with this, of course, what with The Wake and Ever following such ideas. (For that matter, the cover art seems to be a wry reference to the bootleg version of Nine In a Pond Is Hear, what with the "opening up something to reveal a sunset inside" motif.) The title seems to exist as counterbalance to one of the song titles, "No Dominion", which seems to be a nod to the much-used quote "Death shall have no dominion" and so on, and there's a strong fatalistic streak to much of the lyrics.

But then again, isn't that same as it ever was? The intro to the epic opening track, The Unknown Door, extracts a radio broadcast of the declaration of World War II, which feels like it's touching on both the use of historic wartime radio announcements on Frequency and the World War I themes of The Seventh House; Dark Matter's Harvest of Souls played on the afterlife theme too. The fact is that IQ do have a set of ideas and motifs they like to loop back to from time to time - especially when Peter Nicholls is on vocals - and they're looping it again this time around.

But restating your ideas can be a good thing: it allows you to refine them, add nuance, proclaim what you still believe all the stronger whilst jettisoning that which no longer rings true. Musically speaking, this feels like a significant advance in IQ's sound, adding a layer of production polish and compositional subtlety over and above their already high standards. Though once The Unknown Door really kicks into high gear there's no doubt they're still square in the neo-prog realm which is their true dominion, they're also playing up to classic prog motifs and retro stylings less than ever.

But this isn't a Nomzamo or Are You Sitting Comfortably situation where they've decided to go more commercial - the song lengths are all wrong for that approach, for one thing - so much as it is a case where they're confident enough in who they are and what their sound is that they can basically do as they wish and it all manages to sound IQ because it's IQ doing it in an IQ fashion; in other words, it's another prog classic, but not because they're following a 1980s neo-prog playbook but because it's IQ doing it, and even if IQ sucker you into thinking they're going to make it straightforward momentarily they soon work in a way to do something fresh with it.

Neil Durant's work on keyboard deserves particular notice here, dialling relying less on flashy complexity (though there's not an absence of that) and more on continuing the "cinematic" spin to things I'd noted he'd added to Resistance. Some moments of this wrangle from his modern electronics the sort of stateliness you associated with old-time church organs, putting me in mind at points of moments in Yes's work like Awaken, and on that note a case can certainly be made that this may be the IQ work where the Genesis influence on their sound is least apparent and the Yes influence comes to the fore like never before.

It might be the biggest update to their sound since Subterranea, and finds them producing something which will simultaneously give rich enjoyment to long-term fans but is less reliant on their classic 1980s sound or nostalgia for prog's golden age than ever before. As far as I'm concerned, prog's new golden age is "whenever Dominion is playing". This may well be down to a commitment to quality control - reportedly, whilst the gang had enough new material to make this one a double album, they took the single album approach with it, letting us have the cream of the crop whilst the rest gets held back for further polish and refinement. If that's so, then there's every reason to have confidence they'll pull off a blinder with the remainder too.

I'm reviewing The Wake here but this review might as well stand for the other three IQ albums in my possession - The Road of Bones, Subterranea, and Tales from the Lush Attic. I constantly hear about "IQ, Pendragon and Marillion", as if IQ compares to the other two. They do not, though The Wake is probably the strongest of the three. Most of the time it seems they are just going through the motions, like they asked themselves what a prog album should be like in order to sell, then compose music to fit. This is of course in sharp contrast to true brilliance throughout. Don't get me wrong, there are occasional flashes of brilliance but those flashes of brilliance are only occasional. Three stars not a penny more.

IQ's tour for Resistance was cut short, like so many other tours, by the onset of COVID in early 2020, but they were able to get this show down before that happened. In May of 2020 they ended up streaming the show on YouTube as a gesture to fans who'd been hoping to go to the cancelled gigs, and then they put it out on their Archive Collection.

It's an extremely solid show! The band are by and large on top form, though Peter is overcome with a bit of a case of the sillies during the closing encore of Subterranea, and the material from Resistance sounds just fine live. It's a genuine shame they weren't able to complete this tour, but so wonderful that they were able to get this show on tape before the world went on pause.

IQ is one of the great neo groups of the 80s who can afford to do 2 concert evenings in a row by offering a nice selection of titles from their extensive discography. The ideal live recorded at the Colos-Saal in Aschaffenburg to review their classics on 4 CDs is a good example:

The group's classic Friday concert with titles from Ever and the following ones. 2 songs from Ever 'Fading Senses' and 'Leap of Faith', 3 from Subterranea including 'The Narrow Margin' and 'Failsafe', the eponymous title from The Seventh House, 2 from Frequency including 'Closer', 3 from Road Of Bones including 'From the Outside In' and 'Ten Million Demons' and 2 from Resistance, 'Stay Down' and 'Rise', in short, good all-rounders. for 2 hours of concert.

On Saturday the full 'Dark Matter' with then 1 track from Tales From The Lush Attic, 2 from The Wake including 'The Magic Roundabout' and 'Headlong', 2 ​​from Nomzamo with 'No Love Lost' and 'Human Nature' and finally a return of The Seventh House with 'Guiding Light'; The Road Of Bones again and finally to finish the main course ... Resistance and 'Shallow Bay'. 'Last Remains' track from the future album will be played showing the typical sound of the group returning to a softer progressive. in short a best of live for fans above all.

The best part is the cover with 24 pages to leaf through during the 4 hours and 20 minutes of concert.

For Christ's Sake is an IQ track from their earliest days, offering an energetic neo-prog spin on a range of Christmas classics; Tales From a Dark Christmas takes the idea and expands it to a full album, opening with a new edition of For Christ's Sake, wending its way through various covers, and then offering up a 20 minute prog suite with Christmassy themes woven in here and there. As the title implies, there's a dark, gothic atmosphere to all of this, making it both an amusing antidote to overly jolly Christmas fare as well as a fantastic showcase for IQ's command of mood and atmosphere, something which they've always been masters of and has always helped set them head and shoulders above bands which might have similar technical proficiency but don't necessarily have the same knack for setting the mood.

Review Nº 866

'Subterranea: The Concert' is the sixth live album of IQ and was released in 2000. This is the live version of the original studio album 'Subterranea' which was released in 1997. Beyond this double live album, it was also released a video version, with the same name and in the same year, and a DVD version also with the same name, in 2002. The line up on the album is the same of their last studio albums including the original studio version of their album 'Subterranea'.

So, the line up on 'Subterranea: The Concert' is Peter Nicholls (lead and backing vocals), Mike Holmes (guitars), Martin Orford (backing vocals, flute and keyboards), John Jowitt (backing vocals and bass) and Paul Cook (drums and percussion).

IQ had planned to produce a video with a live show of the original 'Subterranea'. Along the way the decision was taken to release a double CD live version of the concert as well. Still, instead of combining both items in one only box set, as they had done with the 'Forever Live' box set, they took the decision of to make a video and a CD versions available separately. Thus, the people could chose for themselves if they wanted the video, the CD or both versions, like me.

Personally, I think that a live rendition of an original conceptual studio album isn't that much different, from a strictly musical point of view. Besides, past experience has told me that when we have live versions from conceptual albums, I hardly ever played them. By the other hand, in general, there are some reasons that make me suspect of many live albums. Many live albums have many tricks and in the history of music, some supposedly live albums, have been recorded in a studio with background noise, or they've really been recorded in direct but altered too much in the studio.

Well and fortunately, this isn't the case of 'Subterranea: The Concert'. It's a part of a limited numbers of live albums that sound real and like the authentic live sound in direct. I sincerely think that IQ had in general varied the songs of the original versions. The performance is brilliant and energetic, some tracks, among which 'Subterranea', are performed at a slightly higher tempo, resulting in a total playing time that's lower than the original, even though some bits are slightly extended. Also some tracks like 'Sleepless Incidental' are more powerful than the studio versions. Some bits and pieces are different from the album versions, like the extended end section of 'Capricorn' with additional piano and saxophone, the few additional keyboard chords in 'King Of Fools', or the new musical section for the live version of 'Unsolid Ground'. Finally, Mike Holmes played some of the guitar solos slightly different in some parts of the album.

Peter Nicholls' voice has a high wide range and he knows perfectly well how to use it. Besides that, he has a strong sense for theatre and has a real stage personality. So, and naturally, it necessarily comes to my mind Peter Gabriel in the early Genesis. This is probably one of the main reasons, besides the concept, why 'Subterranea' is compared, probably unfavourably, with Genesis' album, 'The Lamb Lies Down On Broadway'. Instrumentally, on this live version, the band sounds very 'full', if you get what I mean, which is that this a more muscular version than the studio. Michael Holmes may not really be a stage personality but he sounds good and Martin Orford is excellent, as always. John Jowitt is walking around and 'gluing' it all together. One of the most interesting things on 'Suterranea', even on the studio version, is the amazing work of bass all over the piece. Paul Cook, who is mainly accompanying the band, is fine too.

In relation to the cover art of the album, as we can expected from any IQ album, the CD comes in a nice package featuring a twelve page booklet with many fine pictures of the show and a story line summary from the perspective of the protagonist, written by Peter Nicholls. So, the presentation and the artwork are of great quality, with many pictures, some additional information and annotations of the concept of 'Subterranea'. This is a nice addition to the live version.

Conclusion: 'Subterranea' is one of the better works of the neo-prog sub-genre. It was made by one of the few sincere bands and pioneers that exist inside this style of prog. I believe that 'Subterranean: The Concert' is recommended for all fans of the prog music, not just for IQ fans. The album has enough quality and personality and it's highly executed by one of the best bands in this sub-genre of prog. It's because bands like IQ that we keep the habit of the 70's, the release of some great double conceptual albums. Besides, 'Subterranea' be one of my favourite albums, and I think that it missed nothing played live. To be performed live it won another power and another new life. So, when I listen to the album I usually choose its live version. So, I'm not with those who say that for those who already own the studio version this live version isn't an essential must have, because it isn't that much different from the original version. However, if you have to choose between the studio and the live version, go for the live version. Although, if you want to be able to re-live the live experience without having to play the video every time, make sure you get the live CD as well.

Prog is my Ferrari. Jem Godfrey (Frost*)

Another solid live release from IQ. Rather than releasing the same show from the Road of Bones tour on audio and DVD, the band have put out two different shows; if you don't care about visuals and just want a nice CD release of a show from the Road of Bones tour, Live On the Road of Bones has you covered, but if you want to watch Peter Nicholls' theatrics and the like this will serve you well. And if you're a major league IQ fan, there's enough variation in the setlist between the two releases that neither feels redundant, though I'd give Live On the Road of Bones the edge.

IQ have two live releases from their 20th anniversary live tour - there's also a recording of a London show from a few months before this. But the London release is primarily a DVD, and if you don't put a high priority on the visuals and just want the best sound I'd say this has the edge on the London show, in part because that was a Christmas show and found the band in a rather merry mood which was good for positive energy but perhaps not conducive to the most technically polished performance. Here, by contrast, they nail every note of every song.