IQ
Subterranea

THE REVIEW

Why disparage neo-progressive... in the face of such noteworthy works like this??? It's not a nice thing for a writer, but I hear many purists of progressive rock strongly criticize the neo-progressive sector for its supposed highly derivative nature and imitation of classic bands. I honestly don't agree 100% because it's true there's a derivation, but at the same time, the groups in this branch use decidedly more modern and often more varied sounds. I'm definitely on the side of those who think like me!

This incredible album fully demonstrates everything mentioned above! The IQ had released the masterpiece "Ever" a few years earlier, which marked the return of singer Peter Nicholls and brought them back to more distinctly prog sounds after failed commercial attempts at the end of the '80s. Four years later, in 1997, they tried again with a splendid double concept album entitled "Subterranea", based on the experience of a man who, as the subject of an experiment, is forced into an underground adventure, as evoked by the title.

Musically, we are faced with one of the most excellent products of neo-prog. Compared to "Ever," with more delicate and neo-romantic sounds, here we encounter a slightly darker and rockier sound (in line with the album's theme), but always capable of allowing dreamy moments. A strength of the album, in my opinion, is the good variety of solutions present in this album and the great ease with which it is tackled depending on what needs to be conveyed. There are more lively tracks, more melodic tracks, tracks that alternate; longer tracks, average-duration tracks, and even instrumental interludes of great quality.

It's difficult to list the best tracks; it's easier to say which are the least beautiful because no matter the track's setting, the quality always remains very high and the sound... is thrilling! Among the long-duration tracks, "Failsafe" stands out with beautiful guitars and its splendid delicate keyboard interlude, and "Somewhere In Time" with its wonderful dreamy intro (one of the best), but also the concluding suite "The Narrow Margin" is impressive and "Tunnel Vision", while a step below, is distinguished by a decidedly catchy chorus and the final two-minute keyboard section that is truly a masterpiece. Even when it comes to shorter tracks, I think bowing down is necessary: evidence of this are tracks like "Speak My Name" and "The Sense In Sanity" with their almost abyssal atmospheres facilitated by a Martin Orford in top form (splendid sounds in the latter).

But the sound remains incredible even when it comes to a simple two-minute interlude or even less: just listen to the unsettling "King Of Fools" or the instrumental "The Other Side" (very much like a documentary) and "State of Mine" (with its powerful guitar and beautiful keyboard solos). And the more catchy side? There's room for that too; "Unsolid Ground" could be described as pop-rock. In any case, the album never becomes verbose; even if sometimes you might feel like you're hearing somewhat the same sounds (or even the same themes, since it's a concept) upon deeper listening, you realize it's not quite the case. Mike Holmes' guitars sound different depending on what needs to be communicated, sometimes stronger, sometimes more delicate; and Martin Orford's keyboards truly create the various atmospheres that the album centers around: always varied sounds are used, sometimes more standard, sometimes truly astonishing, in both backgrounds, melodic passages, and the splendid solos (like the final one in "Sleepless Incidental"). All always with great order and coherence.

The band is at its peak; in the 2000s they'll still make great records, but the inspiration of the two made in the '90s will never be surpassed.

In any case, after listening to the work in its entirety, one must rethink everything thought, heard, or maybe even said about neo-prog. Neo-prog is not a manifestation of nostalgia as is often said... but a new manifestation of creativity!