SUBTERRANEA

'Subterranea' is not only my all-time favourite IQ's effort, but also my favourite concept- disc from the 90s. From day one I was captivated by the somber, mysterious ambience portrayed all along this album... even months before I became aware of the dramatic narrative that unifies the lyrical contents of the sung tracks. The repertoire focuses most of its strngth on well defined melodic lines, helped by arrangements that are dealt with both finesse and contemporary sensibility: sure there's enough amount of rhythm and mood twists, but they are not as prominent as on previous albums by the band (like 'Tales' or 'Ever', for instance). The instrumentalists' common attitude is that of creating a sort of OST for the " virtual movie" that surfaces from the storyline. That explains the presence of ethereal layers on synth and guitar synth ('Provider', the coda of 'Sleepless Incidental', the final sections of 'Tunnel Vision' and 'Breathtaker', the marimba-like synth on 'Sense in Sanity') and effective instrumental interludes (the dreamy 'The Other Side', the bombastic 'State of Mine'): some critics have noted down that there are some allegedly annoying instrumental fillers in 'Subterranea', but I appreciate them (and don't call them "fillers") as what they are, transitional moments between a crucial "scene" and the following one. Nicholls' vocal performance reaches the same level of excellence and emotional commitment as in 'Ever', though not as overwhelming, since in 'Subterranea' he tells us a story (while in 'Ever' the subjects were more directly personal). Orford's and Holmes' performances are as precise and energetic as always, but definitely, in adding some clear touches of avant-garde tricks (somewhat inspired by the industrial wave), the guitar/keyboard ensamble feels particularly "modern". The rhythm section sounds a bit rockier, in comparison to the preceding effort, providing a well-oiled foundation for their partners. Mi fav tracks are 'Sleepless Incidental', 'Failsafe', 'Infernal Chorus', 'Somewhere in Time', and the closing 20 minute long epic 'The Narrow Margin'... and let's not forget the eerie ballad 'Speak My Name', which incarnates an oasis of emotional candor in the middle of the overall obscure nature of the repertoire. All things considered, this repertoire needs to be appreciated as an entire unit, since the presence of some recurring themes serves as the spinal tap that sustains its integral coherence. My conclusion: the exhibition of tight musicianship, emotional singing and refined writing in 'Subterranea' makes it IMHO a prog gem of our times.