IQ

The first I want to say about this album is it's full of energy and melancholy. It begins promising with a couple of very good songs with very good musicianship and songwriting. In fact, I would divide this album to two halfs, if I'm speaking about my interest in IQ's Frequency. The first half contains from first to fourth song. The homonymous song - Frequency is the most memorable and powerful song on the album. I would call it a breakthrough on the whole album. Next songs are very good, too and contain some frash ideas. Next half contains three songs, from fifth to seventh. Honestly, I'm loosing interest around the beginning of it. The album becomes too long for so unvaried record. The album run out of ideas and become monotonous. Because of this lost of speed and fresh energy I'll give 3,5 stars to Frequency.

THE WAKE represents my first try with both IQ and neo-prog in general. The word that beautifully describes my response is ''underwhelmed'', as in I expected this album to be one of the greatest I've ever heard and it disappointed on so many levels.

One of the problems that I've just seemed to notice is the production. In general, it sounds too muffled; I can't really hear much of the bass guitar. It's too one-sided in favour of the keyboards in the aspect that the keyboards drown out much of the other instruments (barring vocals and cymbals) 6 times out of 10, or so it seems. On top of it, there are some keyboard sounds that just grate my ears like nails on a chalkboard. Martin Orford is very skilled and talented on the keys, and he's not given production credit, so none of my gripes are any of his fault; if anything, Orford is IQ's biggest asset on this album.

I have problems with the music itself as well. It sounds like overly typical symphonic prog; they piece together keyboard-led, odd timed themes together in a slightly connected manner to achieve a typical prog piece. I'd prefer something from the prog rock field that didn't sound so routine or typical; hearing the same prog album over and over again wears on my mind. Plus, I find too many boring spots where themes just show up and leave without impact. ''Corners'' is the worst example of my complaints as it is a six-minute- approaching-infinity type of song with the most soporific drumming (or drum machine, I can't tell which), cliche sitar parts and a stuffy tempo.

Only parts of songs could stick out. There's a spot on ''Widow's Peak'' right after the quiet bit in the middle that caught my attention, and the ''Chateau Noir'' bonus track has a nice start. That's really it as far as great memorable moments. THE WAKE is not an album that has any lasting impact with me. It almost tries too hard to fit into the prog rock genre, and most of the album sounds awkward because of it.

It'll test your prog fandom, but most will pass this test leaving me wearing the dunce cap in that proverbial corner, listen after unsuccessful listen.

Last words: I haven't even touched base on the vocals. While they're marginal most of the time, there are spots where they can get grating.

"Frequency" A simple, hard-rocking riff with a Kashmir-eqsue rhythm underlain with Mellotron paves a solid foundation for the first guitar and synthesizer solos on the album. Electric piano and weepy guitar come forth after that, giving way to the welcome vocals. The rest of the song is at once heavy and majestic, with that airy Mellotron hovering in the background.

"Life Support" Gorgeous piano is enveloped by airy pads just before the thoughtful vocals enter. I think the drums deserve some praise, as I found that's what I tend to concentrate on even during a masterful guitar solo; all in all, the instrumental section of this song hearkens back to Steve Hackett's darker solo material from the early days.

"Stronger than Friction" I've made this comparison before (not for this band), but the introduction to this song sounds quite a bit like music from Mega Man X, an old series created for the Super Nintendo (and, as I've mentioned before, there's nothing wrong with that at all- music created for certain video game titles is brilliant- I can just imagine running through a level as the blue bomber and blasting everything that gets in the way). Almost halfway through, the piece changes shape, assuming an unassuming, light guitar and soft synthesizer, again sounding like early Steve Hackett. While not flawless, this is a full and mighty composition, boasting that perfect blend of variety and consistency.

"One Fatal Mistake" This piece sounds like one of the post-Neal Morse ballads from Spock's Beard. For something so simple and low-key, it's a wonderful song.

"Ryker Skies" Thick acoustic guitar cuts through an airy atmosphere; in a way it reminds me of "Fly on a Windshield" by Genesis even though the two songs are quite different. I don't particularly care for this track as much, since it is too electronic-based and rather generic in several respects. There is a fantastic organ interlude; however, it's stay is far too brief. To compensate, there's some fabulous synthesizer work toward the end.

"The Province" The longest track on the album begins with picked acoustic guitar and gentle synthesizer. It gets suddenly heavier, with lots of thundering chords and drums. Just before the second half commences, a sinister organ and electric guitar bit takes over, introducing a new vocal melody, effectively keeping the song fresh. I think the synthesizer tone during the big solo is really different, but fitting at the same time. The final minute consists of gentle piano and soothing vocals. I believe the piece could have been trimmed down if some of the dross had been cut out, but overall, it's a brilliant work, although not as a good as any of the first three.

"Closer" Bright guitar begins the final, uplifting track. It's a feel-good and mostly gentle (though upbeat) track, and a fine closer.

This was my introduction to IQ, and my introduction to the entire neo-prog genre. This album made me raid the entire IQ discography, and this is one of their stronger efforts for sure. All five songs here are excellent, and the opening and closing tracks define the word "masterpiece".

So why am I giving this four stars?

Well, some of the shorter songs in the middle aren't quite worthy of five stars, even if they are great. This is also probably the least original IQ album out there. IQ is always bashed by people for being Genesis "clones", and while I do not agree with that, it would be very hard for me to argue against that when listening to "Dark Matter". The last song almost sounds like they are trying to make an epic completely modeled after Supper's Ready. With that said, everything else is absolutely perfect. Even the closing song, while it isn't original by any stretch of the imagination, is a perfect epic! I'll explain each song in more detail now.

THE MUSIC:

"Sacred Sound"- I remember that this was the first IQ song I had ever heard, and I was absolutely blown away! The melodies were spot on, it had excellent guitars, Mellotron, and organ; it was anything a prog fan could dream of! It has great progressions, and the main chorus with Peter Nicholls singing beautifully and Mike Holmes' great guitar line really makes for an excellent song. A great way to open up an album!

"Red Dust Shadow"- The second song actually reminds me of Spock's Beard a little bit. It has a pretty dark main section with some nice use of the Mellotron, but also has some nice organ and guitar every now and again. It's a decent song I would rate 2.5/5.

"You Never Will"- This is the shortest song on the album, and is very enjoyable. It has some great bass, as well as the classic organ and Mellotron from IQ. This is a more straightforward rock song with some prog leanings, but it is very solid as is.

"Born Brilliant"- Easily the best of the three shorter songs, with a great chorus. I love some of the riffs, and this contains some very good vocals from Peter Nicholls.

"Harvest of Souls"- It's not prog without a 20+ minute epic, right? This is the extended composition on "Dark Matter", and it doesn't disappoint. I know this will be criticized by many for being literally a clone of Supper's Ready, but it doesn't bother me too much. It is unbelievable that both songs have almost exactly the same layout, but this song is still one of my favorite IQ epics anyway. I love the lush Mellotron and the beautiful guitar line. Sure it is by no means original, but it is an excellent and flawless epic.

I'm not one who cares too much about originality and all that, but I know some people will care more than I do. That is why I give this incredible album four, not five, stars. Some of the songs in the middle of the album aren't quite up to par either, but are still solid. However, the closing and opening songs are complete masterpieces that should be heard by every prog fan!

4 stars.

I think that some earlier Marillion or IQ albums in fact are just the same sympho-prog musically. Neo-prog means more time parameter for them ( ok, it happens in eighties,not seventies). But for me these works have more in common with earlier progressive music. Few years later plenty of bands started to play plain faceless clone of that music under the name of neo-prog. Even Marillion or IQ later albums are different - the same faceless secondary sound.

So, this album is one of real strong early neo-prog example, and one of rare pleasantly listanable album of all neo-prog collection.

Recommended ( near few first Marillion albums) for anyone, who is interested in early neo- prog as one of the best examples.

But between neo-prog division there are few bands, that are better than hundreds of their faceless competitors. For sure, the first one is early Marillion. The next one could be IQ.

This IQ album is recorded in 2004, not the best time even for neo-prog movement. But the album surprisingly isn't bad.

There are just five long songs, all midtempo, with multi-textured sound,professional arrangements, really nice vocal. In fact, you have some kind of neo-prog standard ( in good sense) there. Plenty of keyboards, full orchestrated sound.

If I was person who was born in eightees, never heard Genesis, never new nothing about prog rock roots,etc, I think I possible will be very happy with this album.

But whenever I am not, and I don't like imitators, it's difficult for me to fall in love with this music. By my head I understand, that it is very competent early-Genesis tribute band. And whenever Peter Gabriel's Genesis doesn't exist, may be it's not bad, that someone just trying to continue their musical ideas ( can't say - "develope", just - "continue"). But I can look on it only like on original ideas translators to new generation.

Nothing is bad with it , but let say true - even high quality translator isn't original artist. And, they are working their translator's job 20+ years!

So, not bad album,especially for year 2004, but in case with IQ I prefer their earlier works. And generally in music - I prefer originals.

But I have taken a shine to IQ. Not only because this is the very thing my personality has precious little off. But also because their Genesis based style is pretty pleasing to the ear. I am more a fan of their Dark Matter/Subter.... era than their earlier era......... like this album for example. The Wake is their second album. I have their first album, but I have not yet been able to listen to it due to believing The Wake is their debut album and the debut being their follow up..... Confusion galore.

The Wake is full of good melodies in the Genesis Peter Gabriel mode. Add some 1980s pop music to the mix and you have this album. Songs like the title track weaves it way through some mainly keyboards orientated stuff. The guitars just fills in the gaps now and then. The same goes for the rest of the album. Unfortunate; it has a typical plastic fantastic 1980s sound. It sounded great then. Today, it makes me slightly cringe.

All songs have some good melodies. But the dot over the i is missing on all the songs. It is great, but parts of it is also pretty dull. I think the age has not done this album any favours. It is still good, but just that. I prefer their newer stuff. This is good, but not essential.

3 stars

What I loved most about their earliest releases was the ability to craft songs that while intricate, still had a lot of rhythmic drive and "propulsion", for lack of a better term. This album, and "The Incident" by Porcupine Tree is guilty as well, plods a bit too much on safe ground. Been there, heard it before.

"The Wrong Side of Weird" The descending synthesizer lead that gives way to such upbeat and jumpy music is a perfect album opening, especially considering how the album revisits the music with some frequency. I am always struck by the resonance of the melody, the tightness of the band, and jealousy that I didn't pen or perform this. Midway through, a piano takes over, the singer over it, and acoustic guitar tags along with some spacey sounds. Loud, heavier music follows, led by fiery electric guitar and powerful lead vocals. This is an exquisite example of modern progressive rock, full of variety and yet wickedly consistent, and my favorite neo-progressive piece- it absolutely radiates with power and grandeur.

"Erosion" Gentle synthesizers, almost choir-like, work through the introduction of the second song. The atmosphere is kept dark, and things gets heavier, complete with memorable and somewhat sinister melodies. This is an excellent contrast to the more upbeat first track.

"The Seventh House" Twelve-string guitar and light synthesizers begin the longest track on the album. The first three minutes build with piano and soft vocals until the electric guitar and bass create a meatier sound. Once again the vocal melodies are highly memorable. After and over a keyboard and rhythm passage that is astonishingly similar to "Apocalypse in 9/8" from Genesis's "Supper's Ready," the chorus melody of the first grand track, "The Wrong Side of Weird," returns in astonishing splendor toward the end. Several sections maintain a static electric guitar riff played over different chords. Speaking of Genesis, the ending section instinctively reminds me of a specific Genesis song's ending, but I cannot for the life of me think of what it is.

"Zero Hour" This is a more laidback piece in terms of composition, yet it remains one of the most varied songs on the album, with heavier parts interspersed with tasteful acoustic bits. One of the melodies of the glorious first track is repeated instrumentally in a synthesizer section in the middle. A searing guitar solo completes the song, rounding it out in an outstanding way.

"Shooting Angels" This is a harder song to enjoy, particularly since it has a funky 1990s rock beat that I never appreciated, but it is juxtaposed with gorgeous, flowing keyboard passages. I particularly like the tight bass tone (reminds me of 1980s Rush) and the exquisite lead guitar. A gritty saxophone solo takes over toward the end.

"Guiding Light" Lovely piano, synthesizer, and vocals begin this delicate track. It has a very simple, almost late 1990s pop melody (Ben Folds Five comes to mind). I love the fluid guitar alongside rest of the instrumentation. Once the sound becomes full, there's another scorching guitar solo, followed by adept synthesizer work. This brilliant album ends quietly, just as this piece began.

The deluxe set is a must with the live DVD, which is also very good and full of long songs, just wringing with passion. I keep going back to this album over and over again, so it must be great! It also has me exploring more of the back catalog, after hearing the live versions of the songs on the DVD. I appreciate DARK MATTER much more now, and SUBTERRANEA THE CONCERT is far better than the studio version (not sure why...). I also picked up EVER, which is ok (dated perhaps?) and THE SEVENTH HOUSE, which I am still absorbing.

If you want to get into a great band, I suggest starting with the best, FREQUENCY!