IQ

Iconic British prog band IQ returns with a new album in 2025, the plainly titled 'Dominion', which happens to be their first single-disc set since 2009, after their two massive double albums released the previous decade. This new album is definitely informed by and expands upon the hard-hitting and melodramatic neo-progressive rock style developed on their previous two releases, as the band delves further into this dark direction of their music, with all the ominous interludes, scorchingly heavy passages and gorgeous vocal harmonies. But unlike the riff-heavy 'Resistance', the band's 2025 offering is a moodier, more atmospheric work that dares to play with a lot of ambient and quiet passages, much to the listener's surprise. And with just five tracks in rotation, 'Dominion' may feel a little more confined compared to the band's recent double albums, whose strength lied in the vast exploration of doomy soundscapes and cathartic mood shifts.

This release, however, is more nuanced and vulnerable, and represents all the things that IQ stand for - the labyrinthian prog-epic, in the face of the opening track 'The Unknown Door' is the most fulfilling and expansive piece on the album with its dazzling twenty-two minutes of playtime, a powerful composition that lures you in with its unconditional beauty in the opening notes, soon transformed into a swiveling dance of technical playing, with the ominous synths and the pointy jabs of the bass guitar, working the ground for Mike Holmes who comes in with a massive verse just before mid-song. Excellent all throughout, this is a really fine entry point for the album, which moves on to the tranquil 'One of Us', here working more as an interlude before 'No Dominion', a more atmospheric song replete with dramaticism and suspense, transitioning into the 12-minute suite 'Far From Here', another very interesting track, with its darker atmosphere and march-like drum patterns; here the band interpolate their heavy tendencies with their usual eclecticism. Closing track 'Never Land' is slow, lush and tame, perhaps bookmarking the album with its tender notes, as the ones we had heard in the beginning of 'The Unknown Door'. The vocal work of Peter Nicholls is always impressive, and with 'Dominion' he delivers one of his richest and most emotive performances, which is probably also valid for Mike Holmes and Neil Durant, both having a very strong presence all over, and delivering some of the finest leads on an IQ album. All in all, this is a really great new album that treads upon the darker, moodier path of 'The Road of Bones' and 'Resistance', this time with a greater focus and emotional intensity.

Today I'll be reviewing the latest album from IQ, titled "Dominion", released March, 28, 2025. IQ are a neo-prog band initially formed in 1981 by Mike Holmes and Martin Orford. Their first album wasn't released until 1987. I reviewed one of their albums during the #100greatestprogrockchallenge , "Subterrenea", which came in at #87 in the countdown.

The line-up on this album is as follows:

- Peter Nicholls / lead & backing vocals - Michael Holmes / guitars, producer - Neil Durant / keyboards - Tim Esau / bass, bass pedals - Paul Cook / drums, percussion

This is a cold listen, as usual. Lets get into it:

Track 1 - The Unknown Door

We jump right in with a 22:33 epic! A synth-brass fanfare, reminiscent of Aaron Copland's "Fanfare for the Common Man" kicks off the festivities. Then quieter keys lead us to the first vocals. By 2:30, the vocals become more rhythmic and piano is added. An additional layer of rhythm enters after 3 minutes. A cymbal roll and occasional bass drum beats join. Then there is an acoustic guitar solo after a verse. The full band kicks in at around 4:35 with accents. The beat gets strong and steady at 5 minutes. Nicholls' vocals are strong and clear. A nice drum fill leads us to a double time beat at around 6 minutes. Soon after, though, Cook plays a marching snare cadence with some tom-toms in a more half-time section. Durant takes a synth solo after the 7 minute mark. The production is crystal clear. Cool synth tones around 8:30. A heavier odd meter section follows, taking us to another synth feature. The vocals return and this section is very exciting. Great harmonies at 9:35. We get an organ solo after 10 minutes. Great proggy playing at 10:50. A guitar solo from Holmes joins at around 11:15. Lots of time changes in succession aroun 11:50. Great build up to 12:40 when a great cacophony leads to a quieter section with sound effects. This bit reminds me of the beginning of the "I Get Up, I Get Down" section of Yes' "Close to the Edge". But then an acoustic guitar strum along the lines of PF's "Dogs" or "Porcupine Tree's "Time Flies" takes over at 13:45. The drums and bass kick back in at around 15:15. Esau's bass is right in the pocket. Then at 15:55 the sound explodes with pipe organ and rhythm section accents, and goth choir tones. The beat gets steady again after 16:20 and Holmes takes another guitar solo, before Nicholls returns on vocals. The synth is featured next. This is great prog! Nich climax at around 17:50. Super cool drumming at 18:15! The busic pauses again for sound effects and sustained synths around 18:35. Vocals return around 18:50. Pipe organ and bass join in. The drums return soon after, and Holmes plays countermelodies on the guitar. Things seem to be building to the big finish. After a pause in rhiyhm arond the 21 minute pont, the vocals drop out and a guitar solo brings us to the closing lines, quietly acoustic guitar and synths! Another fantastic epic for 2025! Great track!

Track 2 - One of Us

We go from the longest track to the shortest at 3:11. Acoustic finger-picking starts us off here, joined by vocals at around 20 seconds. This one is very folky. Subtle synth joins in at around the 1 minute mark to lead in the second verse. The acoustic playing is very nicely done. A wonderful acoustic ballad to allow us to catch our breath following the dynamic epic!

Track 3 - No Dominion

This is the next shortest track at 6:25. Synth fades in and the band enters with a very lush synth tone as the dominant sound. He then plays a moog-like melodic pattern, before most of the instruments drop out for the vocals. The rhythm section joins in a subtle fashion in the second half of the first verse. The beat gets steady on the second verse. A cymbal roll takes us to a sction similar to the intro. The guitar has been subtle on this one, with Durant's keys taking the spotlight along with Nicholls vocals, Nice rhythm section work at around 4 minutes. A tom fill at just after 5 minutes ushers in a guitar solo from Holmes. The sound is full and rich as the song fades to a close. Good track, but maybe not as strong as the first 2.

Track 4 - Far From Here

This is the second longest track at 12:44. We begin with either electric piano or a chime tone on the synth in 6-8, to which the vocals join in. I believe some tuned chimes join in between the verses. The tone of the song is foreboding. At around 2 minutes some synth strings join in. The beat begins to change at around 2:30 as a drumbeat fades in, with a cool flanger effect on the fills. The band locks into a heavy groove with the new beat. A synth solo comes in over top. A synth choir joins in on the next verse. The groove continues with chime tones taking the spotlight between verses. The rhythm section are airtight. At about 5:45 they lock into an "Immigrant Song" groove. A synth solo plays over the top. When the vocals return, the synth plays fills. This is almost Dream Theater heavy in this segment around 7 minutes. At 7:30 the rhythm stops except for a pulsing synth. The band kicks back in at around 8 minutes, and the grooves keep shifting. There is a great vocal peak around 9:30, before a guitar solo takes over. There is a pause around 10:20, and sound effects take us to a dreamy state. A softer verse begins around 11:00. Subtle clean guitar joins in as we begin to reach the ending. Great track!! It leads straight into:

Track 5 - Never Land

This one is right in the middle of the track times at 8:14. Warm synth carries over from the previous track. This is very peaceful as it begins. Nicholls' voice has shown great ranges of emotion throughout the album. He sounds almost hopeful here. Nice fretless bass at 1:55. A subtle rhythm in the synth joins by 2:45. This feels like a "slow-burn" kind of song. The band kicks in big at around the 4 minute point. The underlying rhythm propells the song forward. Nice harmonies at around 6:10. The song is slowly building in intensity. Holmes gives us a guitar solo just before the 7 minute mark. Then the vocals join back in before the rhythm drops out in favor os sustained synth sounds. That brings us to a close. Great track!

OVERALL IMPRESSIONS:

Great album! On my earlier review of "Subterranea", I was less than impressed, giving it a 3.75 out of 5, not bad-not great. I truly enjoyed this one much more, as nearly every track was awesome! Only track 3 was slightly lower rated for me. I give "Dominion" a 4.5 out of 5 stars!

Clicked 5 but really a 4.5...4 seems too low for me.

I have a somewhat strange relationship with the band IQ. I like some of their albums (some of them a lot), but lately I've been somewhat disenchanted with their releases.

"The Road of Bones" seemed like a great album to me (one of the most solid of their career), but "Resistance" marked a certain drop in standards for me (too obvious references and a mediocre sound for this band). On this "Dominion," the production improves. But the music remains stagnant; I don't see any freshness here. IQ do well what they aim to do, but I think they've fallen into the simplicity of empty melodies and basic metal riffs.

"Dominion" certainly isn't a bad album, and it will surely be enjoyed and liked by many fans of the British band (I have to admit there are some emotional moments that work well). It's understandable, but in my case, I need a little change and an extra touch of freshness. And "Dominion," in my opinion, doesn't achieve that.

IQ, one of the founding fathers of the neo-prog movement, combines different styles and continues to fuel the '80s neo flame.

"The Unknown Door" opens symphonically, like "2001," with solemn trumpets; a typical Chamberlain narrative on the neo keyboard. Four minutes of takeoff on typical IQ before the first cinematic deluge leans toward "Flash Gordon" at eight minutes, with its Olympian air and heavy riff evolving their sound. A blend of electro, Peter's soft voice, and Michael's sharp guitar make for this track with a Genesis-like metallic prog sound, rather well crafted. The ambient, cinematic, dark, muffled break, distant trumpets, the opening fanfare, the apocalyptic icy cold, and the Floydian acoustics create a meditative calm. The synth has a hint of animalistic Pink Floyd before the cathedral keyboard explosion, in the style of Yes. Michael intervenes again, launching the fourth part, Peter as an angel, Neil as a liberator, and Neil as a Riverside-esque frontman. We feel Marillion for the dithyrambic melancholic finale of this unknown door.

"One of Us" features a folk arpeggio with acoustic guitar for the interlude and Peter's lyrics about a painful relationship. "No Dominion" follows with a symphonic intro drifting through Peter's signature phrasing, a melancholic Welsh poem about the persistence of life. A deep crescendo with Neil in the spotlight, piano and keyboards leading the way, the solemn air with Paul banging as best he can and Michael delivering a monstrous solo, velvety and deep. The outro features a clock ticking back in time, stunning. "Far from Here" with its lullaby, Peter narrating on a somber keyboard and bells in the background; The choruses vibrate, the drums create a menacing air, the crescendo begins with the orchestral part, the keyboards, and the smashing of the pads. It flirts with prog metal, surpassing it with a bloody riff; the electro break sounds modern, rhythmic, and groovy. The Rothery-esque guitar solo and the energetic Banks-esque keyboard burst forth before the angelic return of Peter Anderson for the nostalgic coda. A personal evocation of a dear loss. "Never Land" continues with a shimmering atmospheric keyboard, with Peter and his warm voice guiding the track in two parts; calm, ethereal, bringing us back to a flight to an imaginary island where weightlessness reigns supreme, even though the title is written in two words. The track is full of emotion for the nostalgic finale filled with hope, with rays of sunlight in the distance. The rise stops with the return of the velvety keyboard oozing with melancholy.

IQ made IQ by adding electronic sounds and heavier riffs to surf the 2020s. Powerful atmospheres weaving intense emotional sounds, a distinctive sound keeping the fan on his musical base with a little more keyboards. A follow-up album is already planned, hoping for a small musical advancement because we only have IQ here. Originally on Progcensor. (3.5)

"𝗗𝗼𝗺𝗶𝗻𝗶𝗼𝗻 = 𝗟𝗶𝗴𝗵𝘁 𝗠𝗮𝘁𝘁𝗲𝗿"

1. The Unknown Door (22:33) (25/25)

The opening is soft, reminiscent of the Fanfare for the Common Man cover by ELP. The WWII radio in the back, the war-like horn section. This will take fans back to Harvest of Souls and The Seventh House, War Tale vibes like on a few other IQ epics. The opening section ends with a bit of a world music vibe too. Really cool!

The following section takes normal IQ songwriting while adding something totally different for them. Still the same soaring hammonds and mellotrons, guitar riffing, tambourine. This section tied together by an industrial sequencer led chorus. Weird part, a bit of a mess but doesn't hinder the listening excerience.

The next part is a bit heavier, what some call 'The Battle' section. Even compared to recent IQ works like 'The Road of Bones' and 'Resistance'... this is heavy. It has a really nice chorus-esque piece that really ties this heavy section together. Good hammonds, great mellotrons, chunky guitars sound really good too.

A little instrumental section, has some really silky basslines, really feels like 80s Neo-Prog. Has some Pendragon elements, but I feel like this section can be summed up into ... an 80s Neo-Prog bit with 2000's IQ flare.

The acoustic section next up reminds me HEAVILY of 'Dogs' acoustic sections by Pink Floyd, even 'Meddle'-esque. The Prog Folk elements are strong here. Plus these chords are very Floydian as well. Strong section, love the vocals, chords, instruments used... chef's kiss.

Now onto a slightly more typical IQ part, nice keyboard solo, well structured, proggy, but nothing new really. Just fits well in an IQ epic. Gives the average fan something to remind of the band they've always known.

The ending section is typical, a reprisal of the opening in a slower, more emotional, all instrumentalists involved. Is it unwelcome because of how predictable it is? Absolutely not. It's what you expect of a strong IQ epic.

Overall, this epic is a great alternative to Harvest of Souls. You want something just as well structured, has moments that are just as strong, and something a bit different? This is it. Each section feels like it's own song (which is the hallmark of a strong epic). Wonderful. The best epic since "Without Walls" and "Harvest of Souls" for sure (and it's not particularly close to me).

2. One of Us (3:10) (5/5)

Gorgeous acoustic track, beautiful. The vocals are soft, pleasant, and well mixed. The keys add a nice amount of atmosphere to this soft track. It's a song like Wintertell (off of 'The Lost Attic' by IQ). The song can even be compared musically to "I Believe in Father Christmas" by ELP (Greg Lake). Such a beautiful song, glad a song like that made it onto the final cut of an IQ album. Could make a grown man cry with how beautiful this is.

3. No Dominion (6:25) (9/10)

The single from the album. Of all the tracks, this is the one that retreads the most old IQ ground. Is that a bad thing? Absolutely not! This song, unlike the other singles, is a keyboard dominant track. I love how ominous and thick the keys are. The musical box like keyboard melody and sound is noted here, seems to be a theme. It's a typical IQ song structurally speaking, it shows the band's Genesis influence, while keeping it's darker side. Weird telephone like sound effect, followed by a wound-up musical box sound effect. Cool way to transition to the next song, sad there was a fade out. Good, strong, not groundbreaking, just good IQ.

4. Far From Here (12:44) (14/15)

The opening is very dark, atmospheric, love the opening a ton. Typical of a 2000's IQ mini-epic. A haunting musical box opening, very cool. Creepy, love it.

The next section shows off a bit more of Paul Cook's drumming skill. A bit heavier and more chaotic. Keyboard dense section with nice vocals from Peter Nicholls.

Definitely picks up a bit in the heaviness department, more straightforward, definitely just a bit more of a heavy chugging section. Probably the heaviest section of any IQ track ever released.

Sequencer to transition into the next bit, a bit like Nine Inch Nails or even Rammstein. Kinda returns back to the second sections theme. Nice reprise, ties the mini-epic together in a circular-esque structure. Beautiful chorus-like piece here too, love the mellotrons, sticks around in your head.

Soft, gentle end to this more chaotic mini-epic. Keyboard and guitar with a bit of vocals. Pleasant, it really fits on this album. Plus the end itself is just... so pretty.

This Mini-Epic overall does everything a solid IQ mini-epic ought to do. It's got good dynamics, heavy moments work well, gentler moments shine nicely, it's a more chaotic one than normal... but I think it works really well! It's a grower!

5. Never Land (8:16) (10/10)

The opening of this track is so beautiful. The lyrics are emotional, the mood is angelic, the production, silky basslines, piano in the back. This song is like a reworked, expanded, and restyled 'Oceans'. Amazing. One of the best album closers in their entire discography.

______________________________

Overall Rating: (63/65) Rating Percentage: 97% Favourite Track: The Unknown Door Final Grade: A+ ______________________________

I couldn't be more impressed with how the big boy's in Prog have released some of the best albums they've released in 2025. Steven Wilson's "The Overview" and IQ's "Dominion" have been borderline 'ten-out-of-ten' rcords!

This album takes tropes that this band is known for and adds completely new moods and sounds, effectively refreshing IQ's sound. It's impressive that over 40 years after their debut, they can still deliver high quality records. They haven't lost their identity, they only expanded on it. Incredibly confident album from IQ. It's concise, structured, well produced, and contains some of their best songwriting of the 21st Century. The second album this year to come close to my 10/10 score. 2025 truly has been one of the best years for Prog Rock in a while.

PA Rating: 5 stars - Essential: a masterpiece of progressive rock music.

IQ are back with their third studio album in just over a decade, with the same line-up for all three, four of whom who played on 'Tales From The Lush Attic' all the way back in 1983. Michael Holmes has been the only constant through the band's career, but there was a stable line-up from 'Ever' to 'Dark Matter', and it is only the one album after that period, 'Frequency', which truly failed to shine, not bad for a band with the longevity of this one. Peter Nicholls (lead & backing vocals), Michael Holmes (guitars), Tim Esau (bass, bass pedals), and Paul Cook (drums, percussion) along with "newbie" Neil Durant (keyboards) may not be the most prolific, but arguably their output has been the most dynamic and consistent of the band's career. This is not a group who are going through the motions but instead are releasing some of their most important and fascinating music yet.

When I reviewed their last album, 2019's 'Resistance' I said that one of the things that truly stood out for me was the confidence of the band, particularly that of Paul Cook, and here we see that being taken to yet another level. Opener "The Unknown Door", which is the longest song on the album (and one of their longest ever) at 22 minutes, tells you everything you need to know about this IQ. Paul can be hard-hitting, blasting around the kit, or providing emphasis by sitting on his hands and doing nothing, Tim provides complexity with his hands and stability with his feet, Neil has long ago moved away from being compared to Martin Orford and has created his own niche in the band with banks of sounds and a happy understanding of the relationship between overplaying and providing support, while Michael can be bombastic and loud or picking an acoustic. There are multiple layers, the threads interweaving and combining the sounds into a majestic whole, and then at the front is the irrepressible Peter Nicholls. To me he has always been as important to IQ as Geoff Mann was to Twelfth Night, or Fish to Marillion. Yes, each band has released highly enjoyable albums without those frontmen, but were they true to the essence? I think not.

This is not an album from people heading gently into older age but instead is a band who still have something to prove, proudly progressive, moving forward. It is a band working together, with little in the way of flashiness as instead this feels like a collective release with everyone knowing their place in the pantheon and what they need to achieve. Consequently, it is a release which I loved the very first time I played it, and it has grown on me even more with the repeated listenings. There is a presence, a dynamic here which is difficult to explain, a majesty which only comes from a band still on the top of their game after more than four decades.

This may well be their finest release since 'Subterranea', not something I say lightly at all. Essential.

IQ's Dominion isn't just another entry in their storied discography?it's a declaration. A bold, emotionally charged, and musically expansive journey that might just be their finest hour. Or at least, their finest 53 minutes. It's rare for a band decades into their career to sound this vital, six long years after the previous album 'Resistance', but IQ have always played the long game, and with Dominion, they're playing it on their own terms.

The album opens with the monumental "The Unknown Door," and in doing so, throws down the gauntlet from the very first note. A 20-minute-plus tour de force, it might well be the band's greatest epic ever?a bold statement, but one that stands up under repeat listens. The beautiful horn intro, followed by Neville Chamberlain's unnerving war declaration speech, sets a tone of mystery and grandeur, like a curtain lifting on something vast and unknowable. After a 'rubato' vocal section, reminding me of the beginning of 'the road of Bones', the piece really lifts off at 5:00 with heavy rhythms and great guitar/synth work. Another escalation around 9:00 where the band moves into even heavier territory. Twelve minutes in, the track plunges into a breathtakingly intricate rhythmic section, a whirlwind of precision and tension that showcases the band at the height of their compositional powers. After a climax the horns return, announcing a more intimate section with vocals accompanied by accoustic guitar only, gradually building up to a more rhyhtmic section with Nicholls once again singing his favourite(?) lyric line consisting of just one word: 'Now', around 19:00 finally creating room for a wonderful symphonic and majestic ending, with a solemn, cathedral-sized church organ arriving to bring the piece to its emotionally towering conclusion, although the final seconds are again reserved for just the voice of Nicholls and the accoustic guitar of Holmes. This isn't just a song?it's a universe, and stepping through The Unknown Door changes how you hear the rest of the album.

"One of Us" follows with a more introspective, human-scale focus. Wrapped in melancholic melodies and Peter Nicholls' aching vocal delivery, it explores themes of belonging, exclusion, and quiet resilience. There's a sense of emotional gravity in its simplicity, making it one of the most quietly affecting moments on the record.

The mood turns sharper and more assertive in "No Dominion," a track that bristles with energy and defiance. As the title suggests, it plays like a direct counterpoint to the album's name?questioning power, identity, and legacy in a compact, driven burst. Neil Durant's synth textures shine here, adding a restless undercurrent that pushes the song into darker, edgier terrain without ever losing IQ's unmistakable melodic sensibility.

On "Far From Here," the band shifts into lyrical high gear, weaving wordplay and socio-political commentary into another haunting prog epic (stretching nearly 13 minutes). The standout line?"What if the right had nothing left, would the left get nothing right?"?crackles with ambiguity, wit, and relevance. Directional, ideological, and emotional meanings twist together, reflecting the confusion and contradiction of modern life. It's IQ at their smartest and most subtly confrontational.

The album closes with the sprawling, cinematic beauty of "Never Land." Part elegy, part promise, it builds slowly and confidently toward a shimmering, hopeful conclusion. It's the kind of song that doesn't just finish an album?it stays with you long after the final note. Glowing with layered instrumentation and emotional heft, it's a fitting final chapter to an album that feels like a journey, both outward and inward.

Musically, Dominion finds IQ in peak form. Mike Holmes' guitar work is expressive and precise, switching effortlessly between soaring leads and atmospheric textures. Neil Durant's keyboards are lush, intelligent, and emotionally attuned, while the rhythm section of Tim Esau and Paul Cook is as tight and inventive as ever. And at the center of it all, Peter Nicholls remains a singular presence?part narrator, part guide, always compelling.

Dominion is everything you would want from a modern progressive rock album: ambitious, intelligent, beautifully constructed, and emotionally resonant. IQ haven't just crafted a collection of songs?they've built a world. One with doors both known and unknown. And it all begins the moment you step through the first one.

Another veteran prog band returning after an extended absence (6 years since last album) with this, their 13th album. It contains all the parts and pieces you expect from these professionals and all the components of a great Neo-Prog album: excellent musicianship and instrumental prowess, great range of dynamics and moods, emotive vocals and majestic themes, and wonderful sound and production. Unfortunately, it is still somewhat disappointing, as the songs themselves are just nothing special, and fail to create engaging melodies or compelling themes. They seem to be going through the motions of what has worked in the past, but the songs just fall somewhat flat. The opening 22-min epic is OK but doesn't really go anywhere, and despite fine individual efforts from all involved, it just seems quite ordinary. Best track is Far From Here, which almost reaches another level, but can't quite sustain it. There's nothing bad here, it is all fine, pleasant, and well-done, good, it just doesn't inspire or excite, and is thus underwhelming. Rating: 3.0

I was a bit late to the party on this one. I started listening to IQ when I picked up their 1993 album "Ever". I was struck by their very Genesis-like (Prog years) sound: including vocalist Peter Nicholls sounding almost like Peter Gabriel. That album was great so I immediately ordered their first 4 albums (the earliest released a decade earlier). Those albums were good but not on the level of "Ever" mainly because they were uneven. There were a lot of great tracks, but also some lesser ones. Since then, they have released 7 more albums through 2019. All were excellent from first to last, including 2014's "The Road of Bones"; rated by many as the best prog album of that year (although Opeth and Transatlantic fans would disagree). Covid hit and there was a gap before their next release, this year's "Dominion". These guys have been around for 40-something years now and you'd think they'd show their age, but that's not the case. Nicholls' voice is as great as ever. The rest of the band, very talented musicians, work as a cohesive unit (very Genesis-like) and I think this album may be their best. The main theme is taken from Dylan Thomas' poem "And Death Shall Have No Dominion". And each song addresses this theme from a different viewpoint. Perhaps it's because the band members are getting older and reflecting on their own mortality or somesuch? whatever, the album really works. This one is released on the heels of last year's 4 disc live set "The IQ Weekender" which is very well done. The new album starts out with the 23 minute "The Unknown Door" with its horn intro reminiscent of Aaron Copeland's "Fanfare for the Common Man" and invokes images of WWII and the bravery and tragedy therein. My favorite song (probably my favorite IQ song) is the last song on the record, "Never Land", dealing with someone who has lost the love of their life. It starts with a gorgeous intro with Nicholls voice carrying the wonderfully spacious melody and it builds and builds until all the stops are pulled as the album comes to an end. I highly recommend this album for Prog- era Genesis fans. "Dominion" and "The Road of Bones" are on equal footing in my mind, and I didn't think that was possible when "Bones" was released.

So, here we go again. Another IQ album hot off the presses, if not quite hot on the heels of their last album Resistance (as playfully suggested by Peter Nicholls). Unfortunately I was too late to buy the orange vinyl version of the album but hopefully it'll come out again in some other colour or kaleidoscope of colours on vinyl. So I've bought the CD but not content to wait for it to arrive in the post I've also downloaded it onto my phone via Apple Music (a very small price to pay for good music). Now, I have to say, there is some really very good stuff on here, notably for me from Neil Durant, but not alone from him. This is IQ once again doing what they do best. I know that there will be those who suggest that this is IQ by Numbers, going over the same old ground yet again, delivering the same old melodies, the same old guitar solos, the same old chords, the same old stories that have been rehashed and the same old drums. Well, to that I can only say Yes. There certainly is some of that here. Quite a lot of that in fact. But I absolutely love it. This is a great album, once again from the band. I'm now in my mid 60s. And having been following and supporting and loving progressive rock music since I was in my early teens, this is what I want to hear.