IQ
Ever

While everyone praises Marillion (great band nonetheless) in the neo-prog scene, I am a huge fan of IQ, an equally British band that has managed to embody the spirit of progressive music in a more convincing and varied manner, without ambitions of commercial success. Marillion, after Fish, tried with Hogarth to evolve their sound towards more refined rock territories, as was only right, but, although they still did good things, they often ended up being somewhat repetitive and at times too easy. IQ, on the other hand, in my opinion, maintained the typical neoprogressive standard, continuing to churn out masterpieces perhaps even better than those produced in the '80s, and they remain one of the leading bands of the genre.

This "Ever," dated 1993, is perhaps one of the most successful efforts; certainly because after the failed attempts at more commercial success first with "Nomzamo" (which still maintained a very progressive approach) but especially with "Are You Sitting Comfortably," the band found itself reflecting and concluded that to hope to continue to have success in the following years, it was necessary to proceed by doing what they were accustomed to doing, that is, something more decidedly progressive, and therefore stop being what they are not—a band that aspires to carve out a space in the mainstream. The same fate befell Pendragon, who after the failure of "Kowtow" redeemed themselves brilliantly with the masterpiece "The World," demonstrating that what Fish's Marillion did (successfully blending the progressive spirit with commercial pop) was only a coincidence.

And, upon reflection, they produced a masterpiece where IQ seemed to be tempted by the more romantic and dreamy sounds of neo-prog, those that Pendragon also attempted during the same period. The result is a dreamy and atmospheric album, to be appreciated especially for the melodies offered. The return of Peter Nicholls as the main mind of the band did wonders for the band, which finally returns to express itself as it was capable of doing in past years, without chasing anything in terms of sales. In the 6 songs of this album, everything that a neo-prog album should have is present: articulated structures but without exaggeration, emphasis on keyboards, dreamy and clean guitars, and some slight flashes of technique and, why not, also a certain catchiness that, however, never translates into markedly pop hits for high charts.

The album opens with a decidedly sunny track, also emphasized by a good vocal performance: it's "The Darkest Hour," which, personally, conveys anything but something dark as suggested by the title. Really remarkable is the introduction, with complex guitar and keyboard passages that do not recur in the rest of the song, truly one of my favorite intros, of the band and beyond, which then leaves room for guitar arpeggios accompanied by equally lively keyboards and drums; a nice keyboard interlude and some guitar solos lead to a slow finale initiated by the keyboards. Track n°2 "Fading Senses" might be the one that best shows the melodic depth of the album; overwhelming emphasis on the keyboards, nice introduction with delicate acoustic guitar-keyboard passages, and then a second part still with impeccable and slightly dark atmospheres. "Out Of Nowhere" is instead slightly more rock and easier, but as a track, it is not bad, especially rhythmically. It is practically the prelude to what is the true masterpiece of the album, "Further Away," 14 dynamic and intense minutes: starting with clean and delightful keyboard sounds, then alternating with clean guitar riffs, a keyboard solo in the middle section, some other nice keyboard sounds similar to those at the beginning, and a nice finale with a keyboard background and a great guitar solo. Noteworthy is also the subsequent "Leap Of Faith," opened once again by delightful keyboards that then leave room for a nice instrumental part with excellent and challenging guitar and keyboard passages. And without interruption comes "Came Down," a not too demanding slow track that relies mainly on keyboards, also drawing on guitar solos and good vocal lines.

The album marks the band's rebirth, and it is truly a great rebirth! They will know how to repeat themselves with equally splendid albums where anyone who listens can be transported by the emotions.