IQ

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.

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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.

Listening to IQ music is always a challenge to me.

"Dominion" opens with a long piece, 22 minutes, and well, this is not what I feared, the composition is well written, the voice of Peter Nicholls is emotional, good, and a bit sad as always. To get right to the point, IQ is always doing the same album, for 40 years.

The record is well done, everything is controlled, but to me, the aesthetic is too wrong. Their way to impose their chords-plaster, all along the album, is boring me up. To me, it's the worst Banks/Genesis use of chords, with Mellotron voice and so on, melted with some metal riffs. It's the opposite of progressive music. It doesn't show something new, or some subtlety to the compositions. They always go to these enormous chords-plaster. It's a nightmare to me, especially the keyboards. It's always a variation of Genesis' s special part of a song, a variation of "Apocalypse in 9/8" for example. "No dominion" embodies perhaps the most what I dislike in IQ music, the big chords-plaster.

But to be positive, they master their world. The mix is great, the sound is good, and the composition is well done. So if you like IQ, you will love this album.

But to me, it's not what I'm searching in progressive music. I search something delicate, that surprises me, adventurous and inventive, and this music doesn't bring me that. It's seems that with that kind of album, the progressive world is lost. But don't get me wrong, I think that this album is a good album, in it's own way. But I feel so desperate with that kind of album. So I'm looking around, searching "outside" of the prog world. Tigran Hamasyan for example.

So, fair enough, I wish a good listen to those who love this kind of music. There's nothing wrong. It remembers me of Marillion. In a same way, Marillion is always doing the same album, in a rhythmic perspective, and with the guitar. I love Marillion, but I feel that they are stuck in their way to compose music. And IQ is stuck too. But they improved their own language, so in that perspective, it's good.

Under The IQ Dominion

A music album is good when you don't have to listen to it multiple times to decide if it's good or bad. Most of the time, you either like the music or you don't right from the first listen.

IQ, one of the biggest prog bands, has released Dominion, an absolutely great record possibly one of the best the band has ever put out.

Like an oasis in the middle of nowhere, Dominion stands as one of the few truly great albums released by established bands in recent years. Classics or not, Dominion is the best record from a major band in this era. Think of Marillion, Yes, Jethro Tull, or Steven Wilson they've all released albums in recent times, but many of those efforts have left much to be desired in terms of quality.

IQ, on the other side of the fence, isn't trying to prove anything or discovering the fire . They're just smarter they simply made something good, something that follows the style they've been refining over the last two or three albums. And to be honest, it worked. In the end, Dominion is truly outstanding and goes beyond expectations.

Dominion is a kind of concept record, open to different interpretations, but it's a snapshot of what's happening today. The album touches on war, authoritarianism, life after a pandemic, and a society that refuses to be beaten or give up its consumerist lifestyle. The record is deeply emotional it moves every fiber of your soul. Dominion is about the worlds we create for ourselves our personal domains and the control we believe we hold. We are the dominant species.

The album opens with "The Unknown Door," a 20-minute-plus epic that perfectly embodies IQ's signature sound while leaning heavily into an ambient and atmospheric orientation. The track flows through intricate movements, blending haunting keyboard work and emotive guitar solos, capturing the essence of IQ's unique style. The song's expansive structure tells a compelling story, drawing you into the album's immersive world.

"One of Us" is an acoustic folk-influenced piece wrapped in IQ's unmistakable sound. The melancholic yet hopeful atmosphere feels like a gentle companion throughout the journey of Dominion. It's a reflective moment, offering a beautiful balance of intimacy and emotional simplicity with sophistication.

The lead single "No Dominion" leans into a more atmospheric and ambient vibe. While it's a great song, it's perhaps the least striking on the record?mainly because the rest of the album is just so exceptional. The song's brooding mood and immersive production make it memorable, but it doesn't quite reach the emotional heights of the other tracks.

"Far From Here" is the standout track my favorite on the album. It's a deeply emotional journey that showcases IQ at their absolute best. The emotional coda, soaked in deep feelings over a soft bed of pianos and synths, features Peter Nicholls touchingly recalling the passing of his mother two years ago. The song masterfully balances dynamic shifts, with brilliant keyboard work, an incredible vocal performance from Nicholls, and a seamless flow of complex arrangements. It's more than 12 minutes of pure captivation?an emotional masterpiece that may just be the band's finest song ever. Time will tell.

The album closes perfectly with "Never Land," a track that feels like the culmination of all the emotional weight carried throughout Dominion. It starts gently before building into a powerful, cathartic finale. This song embodies everything great about IQ?beautiful melodies, thoughtful lyrics, and a dramatic flair that wraps up this marvelous record on a high note.

According to Peter Nicholls, "Never Land" has nothing to do with the Neverland of J.M. Barrie's Peter Pan. Instead, Nicholls has explained that the focus is on a couple "who lived their life and did not give any thought as to how this would end."

The band sounds better than ever. Peter Nicholls' vocal performance is the best I've heard from him?his lyrics are truly outstanding, and his unique writing style remains extraordinary. Michael Holmes sounds fantastic here; his guitar skills have only improved over the years, and after a 44-year career, he's undeniably one of the great guitar players today.

Neil Durant, the "new guy" since his debut on The Road of Bones in 2014, has changed the band's sound in subtle but significant ways. He's an extraordinary keyboard player?more adventurous than his predecessors Martin Orford and Mark Westworth. Tim Esau, who played on IQ's first albums until Are You Sitting Comfortably?, returned to the band on The Road of Bones to fill the space left by the mighty John Jowitt. Esau's mastery not only fills that role but improves on it. Paul Cook remains one of the greatest drummers around, though heavily underrated. Here, he sounds clean and precise this might be one of his best work so far.

The production, handled by Peter Nicholls, is pristine and clear. Every instrument and detail is treated with care, as if under a magnifying glass nothing feels out of place.

The cover art of an old man with the sunset in his soul represents dominion?maybe because we are the owners of our destiny and believe our domains are eternal.

Dominion is a great record. To my ears, it's sentimental, dark, very personal, and atmospheric, with moments of instrumental brilliance great keyboards and guitar solos, outstanding drumming, and stellar vocals. It may not be the greatest IQ record ever, but it's definitely one of their best. Dominion feels good and surpasses everything done by established bands in recent years. Once again, IQ saves the day, and everyone is happy again.

At this current time, this is the prog album the music community's focusing on right now, especially places like Progarchives. IQ helped to invent and flesh out the general neo-prog sound, and once they perfected it, they lightly played with it in different ways until they pretty much stuck with a specific sound that the fans would like. Truthfully, the short story is that IQ's been practically making this same album for the last 20 years, even though they still sound pretty good. I feel this is confirmed by the familiarity of their previous album which I listened to on this same day as the release of Dominion: Resistance. However, this is also why I consider this an upgrade.

Now Resistance was made up of the basic familiar traits of any IQ, or standard, neo-prog album with some healthy melodies and vibes, but the album was stretched out to two discs, and not in the optional way like The Road of Bones was. Dominion, however, is only one disc, and it also recollects some more familiar neo-prog traits and tricks that we may have heard before, but all together creates something a bit more eclectic than Resistance. The also recollect their taste for contemplative examinations of death, which is something they've been doing since the early days. Even the sole 20-minute track carries a bit more tricks and whatnot that help differentiate it from the last album. As well, there seems to be a stronger take on more progressive tectures, complete with stronger symphonics as well, so this doesn't take the blatant metal edge like many of their recent albums did.

This may be a familiar album, but it's also an enjoyable one. It makes for a good introduction to many of the things that make neo-prog tick, and even though it's a but familiar for a band that's been pioneering the genre they invented for 40 years, this one also shows that they still have plenty of spirit and life left. If anything, this has plenty of spirit which might make up for the generic elements.