THE SEVENTH HOUSE

Although IQ have been around for 20 years, they are one of the bands I didn't really know much about. On discovering the prog archives site, earlier this year, I began to take more of an interest in different bands. On seeing The Seventh House in a record shop, I took the chance, not having heard any of it, and purchased it. It was an excellent investment I have to say! Comparisons with Genesis have been made, but I find any links tenuous in the extreme. Occasionally a touch of guitar or vocal may invoke similarities, but in general IQ are their own band. This album is superb. Starting off with The Wrong Side Of Weird, I found this track an wonderful opener. From the intro of swirling keyboards, the bass and drums kick in and we are away. Peter Nicholls does and excellent job in the singing department, and the whole song is high class prog. I love the time changes which seem to flow seamlessy through this song. Next up is Erosion, a shorter piece but quite menacing. This is the one track where the Gabriel comparisons have a slight ring of truth to them. Certain notes Nicholls sings are very reminiscent of the ex Genesis singer. A good track. Following this is the best track on the album, in my opinion. The title track is is a wonderful affair, and prog at its best. The quiet passages are very atmospheric, and the whole, once again, flows nicely. Mike Holmes plays some nice touches here on guitar, and Martin Orford is tremendous on keyboards. Definitely a track from the Genesis school, although it doesn't really sound like them. Listen and see what I mean! Next comes Zero Hour, a shorter ballad which is not so much prog as easy listening, but superior easy listening. There is a superb line in the chorus - Found a girl whose laughter turned me round to face a brighter sun - which I still find spine tingling in its beauty. As a poet myself, I can appreciate the poetical touch here. Brilliant. The last two tracks are, for me, the weakest, comparatively. Shooting Angels is nice enough, but not outstanding. Nothing much happens here, no keyboard or guitar solo, just a solid tune that is pleasant to listen to. And finally, Guiding Light starts out as, again, easy listening, but cleverly, near the end, reprises a small part of the opening track to bring the cd full circle. The album is keyboard dominated, but the guitar, though selective, is of a high quality. Recommended for all fans, and for those who wish to get into this band. They remind me of a jack of all trades, not outstanding in any particular area, but consistently good throughout. Try it!