NEO-PROG

'True Live Crime' is a 2024 live album by acclaimed art rock collective RPWL, capturing one of the band's shows at The Poppodium Boerderij in Zoetermeer, the Netherlands, one of the iconic venues of several signature progressive rock live albums, and this release by the German group is no exception, featuring the five band members and the two female backing vocalists as well as an enthused audience of dedicated fans engulfed in the great atmosphere of the show. Since this live recording is from a tour supporting RPWL's 2023 studio album 'Crime Scene', the album gets played is its entirety as the band deliver an exhilarating performance of an otherwise excellent offering, bringing their morbidly brilliant work to life in a beautiful way. Each instrument is clearly discernible in the mix, while the vocals sound perfect all throughout, giving this album a lively and organic quality.

The setlist features six more tracks from all over the band's catalogue as the overwhelming performance continues, with great tracks like 'Unchain the Earth', 'The Shadow', or the fabulous album closer 'Roses', arguably the band's hit song. The entire performance is impressive, and this live album captures a seasoned band at its prime, playing some of their best material. As far as I'm concerned, this is the perfect representation of RPWL, both in terms of the depth and scope of their music, and their dedication to the excellent live performance, all topped by the superb quality of the recording, just a joy to hear.

With their eighth studio longplayer 'Crime Scene', Bavarian neo-prog veterans RPWL take a deep dive into the realm of true crime and explore various fascinating cases through the carefully-forged lyrics of frontman Yogi Lang - the band explore the eternal debate between good and evil on an album that is above all else, atmospheric and expansive, varied and eclectic, containing all the signature elements of the art rock institution that this band is. And while the concept behind this excellent album might seem rather morbid, it is the gorgeous way in which RPWL interpret the stories of characters like Carl Tanzler or Karl Denke, weaving all throughout their magical music and sweeping passages of elegance and technique. With just six tracks in rotation, 'Crime Scene' is an incredibly focused effort that allows each band member to showcase their strengths, also serving as the formal introduction of newcoming bass player Markus Grützner.

And this captivating, eerie and atmospheric album starts off with 'Victim of Desire', a well-composed song offering an interesting variation to the RPWL formula, all the subtle shifts within it are rather pleasing and rewarding, followed by the "love song" that is 'Red Rose', a hauntingly beautiful track that resonates with the listener long after the music has ceased to play. 'A Cold Spring Day In '22' is shorter but no less substantial than the rest of the album, a livelier number with a memorable chorus and great harmonies. 'Life in a Cage', on the other hand, is a moody excursion with some great synths and a menacing but interesting use of vocal effects, a surprising and welcome number on the album, followed by the 13-minute centerpiece 'King of the World', the more virtuosic and adventurous composition from the bunch. The fuzz guitars of the closing track and its uplifting and hopeful tones allow this record to end on a high note, all while Lang's great singing voice is on full display. Just an excellent concept record from one of the masters of the art rock scene, carefully conceived and excellently executed work of greatness.

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 debut Solstice " Silent Dance" still remains my favorite album by them, although the recent album ' Light up' comes close!

Silent Dance came out in 1984 in the middle of the 'new wave of British progressive rock'. A movement that was later, often disdainfully, referred to as neo-prog. I would not call Solstice neo-prog; they were a bit different. They made a hippy-ish spacey progressive rock with beautiful layered arrangements.

The main influence on this band seems to be Yes. The vocals of singer Sandy Leigh more than often sound like Jon Anderson. An exception is the last track where she sings in her natural voice. Since this track is called ' find yourself' I do no think this is a coincidence.

Its is hard to pinpoint highlights on the album since the songs are off a consistently high quality. Maybe the dreamy and spacey " Earthsong" is my favorite.

Anyway great debut by a very promising band that never really got the recognition they deserved. Maybe they had to sound more like Marillion at the time but they had their own vibe going.

I am in doubt between 4 and 5 stars but 'an essential masterpiece of progressive rock' seems a bit too much praise.

4,5 stars

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!

I have been revisiting the older Solstice releases lately and this one seems to be somewhat undervalued.

Stylistically it is pretty much in the same style as ' a new light' (despite several new band members) but maybe with a little more variety. '

The opening track Salú is a very nice instrumental in the typical hippy prog Solstice style with tasteful guitar playing by Andy Glass. (7/10)

The highlight of the album is the title track. in more upbeat funky style but with a more ambient middle part. This might be one of my favorite Solstice tracks actually. (9/10)

Soul to soul is a decent more ballad style track. Not my favorite but not bad too. (6/10)

Thank you is a little more rockier with a good catchy chorus . Very nice (7/10)

Medicine is another ballad style track with beautiful singing by newcomer Emma Brown. (7/10)

Sacred run is the heaviest track on the album. For the rest typical Solstice, just a bit heavier. (7/10)

Coming home is another instrumental. Andy Glass channeling Andy Latimer. Simply beautiful and melancholic. The other highlight of the album (9/10)

So in all a very solid Solstice album that certainly deserves a bit more attention. But frankly, the whole Solstice catalogue deserves more attention. They are still one of the best kept secrets in progressive rock. For me this scores on average about 7,5/10 so that translate to a 4 well deserved stars.

Once There Was a Band From Connecticut

The Far Cry is a U.S. band from Connecticut, heavily inspired by progressive rock bands of the early '70s most notably Yes, Emerson, Lake & Palmer, Kansas, Genesis, and Gentle Giant as well as some '80s bands like U.K. and IQ.

There's no room for new neo-prog or experimental prog here this is classic prog in your face, without filters.

The band members are veterans of the genre, each with a history in major musical projects. Jeff Brewer (bass, vocals) was in Holding Pattern from 1983 to 1993. Robert Hutchinson (drums, percussion, spoken word) played in Elysian Field (1972 - 73) and Whisper (1977 - 78). Chris Dabbo (keyboards, vocals) has contributed to numerous studio and live projects. Brendan Kinchla (guitar) is a guitar instructor at Berklee.

Once There Was is an album of over an hour, with just four songs?the shortest being almost seven minutes long.

The record opens with Unholy Waters, featuring a great keyboard intro reminiscent of U.K. It's clear that a Yamaha CS-80 takes the lead in this track, which is full of dynamic changes and passages reminiscent of Yes and IQ. It's an incredibly enjoyable song, and you won't even notice that it lasts over 14 minutes.

The second track, Crossing Pangea, is another standout, packed with strong influences and outstanding instrumental sections.

Next is The Following, the shortest song on the album. While not a bad track, it feels like the only weak spot not because of its length, but simply because the other songs are much stronger.

Finally, the album closes with the 30-minute suite Once There Was, split into 11 parts. It's an excellent piece, full of great sections and recognizable influences that enhance the song and the album as a whole concept.

This is a fantastic classic prog record from start to finish. I had a great time listening to, it has all the elements a progressive music fan like me most enjoy. The Far Cry transcends its influences and transforms them into something unique. With extraordinary compositions full of time changes and fantastic instrumental solos, progressive music is in full swing here.

Perhaps the only weak point is the final mix and production, which sounds very modern but leaves some instruments too low and others too high. The drum sound and amplification are also lacking. However, the album is so extraordinary that I believe the band must have considered this, and it's probably their intentional sound. Personally, I would have preferred something warmer and more pristine for this style of music, but ultimately, the result is more than fine.

Despite any minor flaws, Once There Was more than makes up for them with its strengths. For fans of classic progressive music, this is the album we've been waiting for.

A great contender of the best record of 2025.

Cinematic "ouverture" in war march with drums, flute and this quivering whirring sound, like in the good old days. "Les Batailles Perdues" piano and vocal intro flirting with 'Le Bal des Laze'; the Mellotron accompanies Eric's narration before the electric variation, guitar then velvety synth. The military pad facilitates the narration concerning the Russian war before the ambient, haunting development, starting on a soaring instrumental sound of ARAGON, metronomic. "Retour en Bourgogne" with synth pads typical of the 80s, a beautiful guitar solo, a French vocal to tame, the eternal question of the voice engulfed in the instrumentation or not. A slow melodic variation without pretension to enjoy the exhausting return to France with a warm Genesisian Mellotron. "Les Fantômes de Noisot" (The Ghosts of Noisot) opens beautifully with drums and a Mellotron that continue to instill a soaring atmosphere with the metronomic rhythm guitar; explanatory phrasing and a piece that drifts into the mist. "Célina" for the kitsch title, a time when the voice was prominent, I'm thinking of ANGE here. The explanation of the fate of the soldier's family ravaged by tuberculosis, his desire to desert, and the orchestral acoustic guitar and Mellotron variation imprinting the solemn and desperate air.

"Domaine de Noisot" for the epic four-part piece; the hundred steps of the estate, solemn steps to be climbed on bells and carillons high above Fixin, a mystical place in Dijon. Synth polyphonies follow for a utopian Egyptian march, an unfinished dream to the tune of VANGELIS with ethereal swirls that add emphasis and the most beautiful progressive moment. It increases on an ambient electronic side, giving it a more modern prog feel, which was somewhat lacking. The sound shifts from melancholy to new age, and is simpler too. The pros and cons of this clichéd album, moving away from the neo-prog sound. The finale is more explosive, in the style of GENESIS's third iteration, with velvety keyboards coupled with a dynamic pad; the lead guitar then comes like an endless wave, licking the listener's ears between nostalgia and memories of that blessed period of the 80s.

MAGNESIS continues to release beautiful cinematic moments, moving further and further away from neo-prog. An opus that doesn't revolutionize the usual genre of melodic progressive bands, well, yes, precisely here, with the addition of synthetic electronic sounds imprinting a singular energy that sets them apart; it's simple, but it's beautiful. Originally on Profilprog (3.5).

3.5 stars. "Infusion" is the debut album of RUBBER TEA, a young five piece band out of Bremen, Germany. And I feel that having them listed under Neo Prog just isn't right. We get about ten musicians in total, including the guests who add horns and vibes. A lot of FX pedals in play from the band, in fact there's a long list of instruments credited here. I understand the bassist and keyboardist started writing material in 2017. They formed the band that year, and it took from 2018 to 2020 to complete this recording, production and all.

As you might expect with a bunch of University students, they drink a lot of tea and coffee. And the name RUBBER TEA came when they discovered this neglected cup of brew that had been there so long, the liquid had turned rubbery. And so RUBBER TEA became their band name, and a constant reference to their beginnings. The bass player did the cover art. And it's very detailed and colourful, just like their music. RYM tags this with Neo Canterbury which to my ears is as much a stretch as Neo prog.

This band has so much potential. I feel that this first experience of making an album was a big learning curve. And so there are things here that in my opinion just don't work so well. I understand their followup album "From A Fading World" from 2023 is better than this one on a few levels. And I'm not surprised. I really don't like the processed vocals on "Storm Glass" which sound robotic. I also am not into that final so called instrumental called "American Dream" where they use audio clips throughout to cast America in a bad light. Those are the two most glaring mistakes, in my opinion of course.

One of the cool things they did was to put some art work beside the lyrics for each track in the liner notes. And that final tune "American Dream" has a picture of the statue of liberty in psychedelic colours with monkeys hanging off of it. Again I guess they don't like the USA. Tracks one, three and six have lyrics adapted from literature. And on "Storm Glass" they note that the bass line was inspired by Frank Zappa. Hmmm. We get male and female vocals and while I've spent some time on some of my issues, how about some positives?

That opening track has me excited for the gorgeous melodies this band can produce. It's called "On Misty Mountains" and it has some moving sections. It blends into the next one "Downstream" which is a short instrumental. Could have been one tune. We get those guest vibes on "In Weeping Waters" a tune that is fairly laid back but with a lot of different flavours. I do like "The Traitor", the mood, the melancholy, the determined female vocals. Some soaring guitar as the passion rises. I'm not big on when it turns brighter before 4 minutes though.

"Plastic Scream" and "The Drought" are both done really well. I like the mellotron on the latter, plus there's male vocals and female. The organ as well adds some power as this plays out. I think on this site Crossover might have made more sense for this band, but regardless, the sky is the limit for this talented young group. And I'm curious about the followup to this one, to see what changes were made etc.

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.