IQ
Dark Matter

Driven by an enviable creative musical streak despite 25 years of activity, Peter Nicholls & company manage to conquer the insults of time with the elegance and delicacy of their compositions and certainly stand out in the prog-rock scene as a rare gem that evokes emotions without resorting to pure and sometimes ostentatious technicality—especially in the progressive field—always maintaining the usual desire to tell stories and create special atmospheres. Even "Dark Matter", certainly a well-crafted album, capable of decisively painting melodic lines worthy of the best English prog tradition of the '70s, does not escape these rules.

It is difficult to put into words the poetry behind that majestic overture that Orford—in great form for the occasion—offers us, weaving a beautiful arch tapestry before introducing us to the simply sweet voice of Peter Nicholls in the opening track of the album. The opening track ("Sacred Sound")—clearly all in odd times—is certainly one of the most successful moments of the entire package and offers numerous lyrical insights, besides showing us—if it were still needed—that these artists, in terms of melody and skill, do not fear comparison with other sacred monsters of the past and, in my opinion, also manage not to look bad in compositional refinement compared to Dream Theater. Nicholls' vocal performance repeatedly brings to mind James Labrie, Neal Morse, and/or Roger Waters, sending shivers, especially in the songs occupying the central section of the work, which, however, perhaps also turns out to be the least brilliant.

The first in the series is "Red Dust Shadow" where Holmes' acoustic arpeggio accompanies almost a whispered first verse that seems to guide us into a kind of soft, dreamy atmosphere, and this sensation becomes even more evident when, in the final part of the piece, one of the ancient mellotrons envelops a wonderful bass phrasing seductively.
"You never will", introduced by the tick of an insidious clock and another captivating bass riff, is instead the most immediate moment of the entire "Dark Matter", but not the least beautiful, as here we can also enjoy all the IQ's class thanks to a chorus that remains burning in memory and especially to a very well-crafted rhythm section, relentless for its punctuality—not to mention Orford’s incisive organ solo.
One of the most interesting lyrics, in my opinion, is that of "Born Brilliant": a corrosive and cynical Nicholls denounces the rampant hypocrisy and selfishness of today's world—the use of the megaphone is congenial, I would say. Direct and ruthless words, ironically caustic, accompanied by a pounding bass and an unusually rock guitar, contribute to making this piece, perhaps, one of the least immediate.
Another unforgettable moment of the work, which undoubtedly makes it worth purchasing, is the final suite "Harvest Of Souls", which unfolds in six "movements" over more than 24 minutes of great music that truly represents the sum of the IQ sound.
In terms of melody, it alternates soft passages with hard ones in which the whole group is perfectly amalgamated, all finalized to convey a clear message: a great no to war that accompanies positive hope for the future. In short, an incredibly intense piece that recalls the violent events of September 11th, living with sudden rock bursts ("The Wrong Host") and sound cavalcades (as in the finale of "Nocturne") and piano arpeggios ("Frame and Form") and again unsettling little marches ("Mortal Procession") that now shake, now cradle the listener, always moving them ("And when the eyes of children/See past the ones left standing/And the time has surely come/To understand who we are/Slowly the fires are burning/Bearing their silent witness/And the living past returns/To reap the Harvest of Souls").

The only negative note, in my opinion, goes to the cover artwork, which I find at least not very fitting. It doesn’t thrill me; in fact, I find it of little depth. And with this, I’d say that's everything, folks!

See ya!