FREQUENCY

IQ waited five long years to follow up their monstrous neo-prog classic "Dark Matter" but finally in 2009 their tenth studio arrived in the form of FREQUENCY. There had been many shake ups for the band over the previous five years with the most significant coming in the form of the retirement of co-founder and keyboardist Martin Orford who would not only leave the band but would leave the music business altogether. His replacement was found in Mark Westworth formerly of Darwin's Radio and Grey Lady Down. If that wasn't enough, long time drummer Paul Cook also jumped ship after more than twenty years of service. His replacement was found in Andy Edwards formerly of Frost*, Flash Range and soon to be in Magenta.

While it seems that IQ must've taken a major hit from all the turbulence in the lineup, at this point the band had been cranking out their own unique product for so long that the members carried on without missing a beat. In fact, if anything, FREQUENCY demonstrates perfectly that the adding of new blood is exactly what a band needs from time to time to keep from becoming stagnant. Not that IQ were in danger of doing just that but FREQUENCY definitely has elements of musicianship that differ from the previous albums although they blend in seamlessly to the overarching neo-prog style that IQ had crafted over its 30 year history. While IQ has remained quite popular in cult prog circles, they have still flown under the radar of mainstream rock but despite the staunch loyalty of fans, they can smell a wipe out a mile away and FREQUENCY passed all the quality tests with flying colors.

FREQUENCY consists of a mere seven tracks that just clock in over the 62 minute mark and in their wake unleash some of the most provocative tracks of the band's career. Once again, the band emphasizes the liberal use of keyboards. Certain keyboard sounds entertain the melodic deliveries while other provide the massive atmospheric backdrops that offering the sweeping sonic panoramic scope of the musical delivery. The band do not deviate significantly from their established formula and incorporate the usual guitar, bass and drum sounds to accompany the swarm of keyboard sounds that provides the majority of differing timbres. The compositions are teased out into amazingly rich and emotional sprawlers that tackle the usual nebulous powerlessness we all experience in controlling our own destinies through intricate storylines.

As with their other 21st century albums, IQ implement healthy doses of heavy rock to contrast the softer passages and the general formula of building up intricate melodies into thundering climaxes still provides the uncompromising formula that the band had been implementing since they got their feet on the ground again on 1993's "Ever." And once again vocalist Peter Nicholls delivers a flawless performance where he handles the jumps from placid near whispers to operatic heights without missing a beat. He also tackles many of the backing vocals which add interesting layers of depth. If there's perhaps one track that stands out its "Ryker Skies" which finds an interesting mix of the usual lush sensual neo-prog passages but also finds a crushing bass groove and soaring guitar riffs but also has some really cool electronic segments that give IQ a new cyber-industrial sort of vibe. The near 14 minute "The Province Of Kings" is another jittery prog rocker that tackles both heavy rock and synthesized sophistication like no other track with killer Who like keyboard dances.

IQ have been nothing but extraordinarily consistent for the majority of their career and FREQUENCY really just continues a stream of strong albums that doesn't suffer one iota from two new members finding themselves on board. In fact, Westworth is more than capable of matching Orford's exquisite keyboard playing palette of a million sounds in a million different keys and for a band that relies on the keyboardist above all others, it's quite the complement to say that Westworth successfully filled some pretty tall shoes and still managed to add his own personal touches to the mix. For the most part a perfect album but "One Fatal Mistake" and "Closer" are a bit too generic for my liking. Still yet one more excellent album to add to the IQ canon.