THE WAKE

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This album is said to be one of the classic neo-progressive albums of the '80's. It was originally released on Sahara Records, but this is a re-mastered re-issue on the Giant Electric Pea label with three additional bonus tracks. "The Wake" are IQ's second album and it was released around the same time as Marillion's "Misplaced Childhood". At this time IQ and MARILLION were sound a likes with reminiscences to GABRIEL-era GENESIS. The highlights are the opening track "Outer Limits", "The Wake", "Widow's Peak", the album closer "Headlong" and the bonus track "Dans Le Parc Du Chateau Noir". I can't understand why this track wasn't included on the original album instead of "Corners". I really like that IQ are using the Mellotron as it wasn't used very often in 80's progressive rock. This is a good album although MARILLION's "Misplaced Childhood" were slightly better. Highly recommended!

What a difference a second album makes!

Although I gave Tales From the Lush Attic five stars, there were specific reasons (which you can read in my review). And I spoke of a "joyful naivete" in its approach.

There is no such naivete here! From the confident opening synth figure, you know that IQ has matured in a remarkable way. With the exception of The Thousand Days (the demo of the song is better), every song on this album shows a clear direction, a great deal of creativity, and a far more confident approach to songwriting and arrangement. And unlike many bands that wear their influences in their sleeves, IQ makes valiant attempts to channel those influences (mostly Genesis and Pink Floyd) into something new and creative - and they succeed far more often than they fail. In addition, the musicianship is quite good, each member having both a good sense of their own creativity and a good sense of the Genesis member they "represent." And a listen to Corners, Widow's Peak and Headlong gives a good idea of the direction IQ would ultimately take, toward an even more intense, confident "classic" progressive approach (but only after a strange 2-album interlude).

Despite the derivative quality of this album (which is not a put-down), I definitely recommend it for any prog-rock collection. 3.5 stars.

As with Fish-era Marillion, England's I.Q. is another "neo-progressive" band that couldn't have existed without Genesis first pointing the way and brilliantly illuminating the path ahead. As other reviewers have indicated, THE WAKE is the product of a band that clearly owes its inspiration to early Genesis (up to and including A TRICK OF THE TAIL and WIND AND WUTHERING), but -- at least for my taste -- if one group is going to mimic (whether consciously or not) the sound of another, it might as well be that of progressive luminaries Genesis! In any case, I.Q. singer Peter Nicholls (unlike Fish) has a strong voice that sounds nothing like Gabriel's, and the songs themselves are varied and intelligent enough (as the group's somewhat cocky name would seem to suggest) to lift THE WAKE well above the rank of a generic "rip off" or clone.

Questions of inspiration/originality aside for the nonce, THE WAKE is a fine piece of progressive music, performed by an obviously talented group of musicians. Particularly effective tracks include the atmospheric and even grandiose opener "Outer Limits;" the hard-hitting, memorable title track (both songs feature great "Hackett-esque" guitar from Mike Holmes); the musically-diverse "The Magic Roundabout;" the initially-melancholy, then driving and infectious "Headlong" (which has a simply majestic closing section); and "Dans Le Parc Du Chateau Noir" (more superb axe-work here!), one of three "bonus" cuts included on the disc. My overall favourite track, though, is the album's longest: "Widow's Peak" is by turns magnificent, haunting, and passionate, and as good a piece of progressive music as I've heard since the 70s!

Would fans of early progressive rock, who are eager for some new (if not entirely new-sounding) music enjoy this album? Well, your reviewer fits that description, and track for track, I prefer this CD to anything that Genesis have released since "WIND." Though recorded some ten years after the glory days of the genre, THE WAKE is closer to the sound and spirit of early "prog" than much of the watered-down, later efforts of once-dependable stalwarts such as Genesis. Thus, I give THE WAKE a four-star rating (I'd give it an additional half star, were that an option), and recommend that you first check out the "Widow's Peak" MP3 found here, then order a copy for your progressive rock listening pleasure. Is THE WAKE a future "five-star" classic-in-the-making? Quite possibly -- check back with me in a few years!

It is a classic issue of the early eighties, containing some famous songs such as "Widow's Peak", "Outer Limits" and the captivating "The Magic Roundabout", true must have songs, often played live along with "It all stops here". In fact this latter should be perfect and appropriate within this album, otherwise being included also into the stunning collection "J'ai Pollette D'Arnu", which is another piece of this important history by IQ!!! Classic stuff!!

This is the second IQ album. Compared to the first one, the tracks here are less epic, lasting not much more than 9 minutes. All the tracks are at least excellent. The keyboards are VERY varied, mixing old ones like organ and harpsichord with more modern ones. The electric guitar is quite less rebel rock than on the previous album, and Mike Holmes relies on MANY VERY sustained melodic guitar solos, having substantial echo effects: They sound like Steve HACKETT's electric guitar before the 80's. There are some choir-like keyboards (novatron?) floating in the background. The bass is very good, although it could be louder and more sophisticated. One of the best bit is on "Magic Roundabout", when the clean rythmic guitar embarks, producing with an OUTSTANDING mellow fretless bass a very pleasant & dreamy atmosphere: GRAND!!!!!!!! "Widow's Peak" has great fast and brief drums peaks. The last track, "Headlong", is very melodramatic and very progressive, nevertheless having a happy ending: it sounds like albums as old as "Nursery Cryme" and "Foxtrot", especially the beginning. The weak point is the poor ambience due to a "monochromatic" sound: I must remove half a star for that because it is very flagrant and irritating. Unfortunately, it does not sound as atmospheric as the "Subterranea", "Ever" and "Seventh House" albums. However, I strongly recommend the corresponding live album, "Living Proof", which has a quite better ambience & atmosphere.

My rating: 4.5/5

Well this is one of 2 IQ albums that deserve the 5 star rating.A dark almost overwhelming record that grabs you by the throat and just won't let go.'The Magic Roundabout' has absolutely nothing to do with Dougal and chums I can assure you ,while 'Widows Peak' has one of the most startling intros to any peice of music I've heard.Paul Cook is awesome on the skins here.The star of the show undoubtedly though is Pete Nicholls who lends an intensity to the songs that is very rare in music.This is a special record.

I knew this band from this album right after I was amazed by the appearance of Marillion's Script for A Jester's Tear. Judging from the cover itself, you would definitely guess that this is a Gabrielish (early Genesis) sort of music. Look at the mask. Yeah .. you bet! This is another progressive band in the vein of early Genesis (Hackett's era, not so specific Gabriel era), even though it's rather tiny at vocal part. Overall, this album is excellent! If you enjoy Genesis' "Fly on a Windshield", "The Lamia", "One for The Vine", "All of Mosuses's Night" or "Blood on a Rooftops" .. yesszzz!!! This is your choice of album. You would not regret with this album. But .. please take note on some points: don't try to compare with Genesis (Hackett's era), this was a new band by that time. You may notice how the drumming was performed poorly in the opening track "Outer Limits". It sounds poppy in my opinion. It has no varieties like what Phil Collins did with Genesis. Oopps .. I should not compare it. Sorry ... However, I would rate this band as having BIG FIVE STAR in creating a truly melodic and harmonious music, regardless their musicianship. Afterall, their later albums demonstrated significant improvements in their musicianship. You may try "Ever", "Subterranea", "The Seventh House". The first thing that strike me and make me hooked to this band is their title track "The Wake". Ghusszzzz ...!! This track is so wonderful; energetic. The other excellent tracks are "Widow' Peak" and "Headlong". Oh God ... these are another melodic music I've ever heard. If you like Genesis "One for The Vine", definitely you will like these. This album is a MUST HAVE for prog afficionado. Definitely ....! - Gatot Widayanto, Indonesia.

[ begin the Rod Serling voiceover] Picture if you will, GENESIS- but in an alternate universe in which they resisted Phil's coup but accepted the 80s production trends. While it is definitely laudable for carrying a prog torch at the same time GENESIS as well as YES, ELP and PINK FLOYD were shamelessly embracing commercialism, it fails to find new meanings like KING CRIMSON or RUSH (although IQ's better pop moments do forecast the candian trio's 90s sound). There are some embarassingly dated-sounding moments; the gated drums on "Outer Limits" are very like solo-Collins, but the song itself reminds me somewhat of STYX- take that as you will. The title track brings ALDO NOVA to mind but has some interesting bits in between the verses. "The Magic Roundabout" is less whimsical than the name would suggest; the lyrics are self-pitying and poorly written, and strangely enough the demo has a tighter rhythm section than the final version. Anybody remember TOM PETTY's "Don't Come Around Here No More"? "Corners" is a sonic sibling, with a more overwrought vocal and no mad hatter video. "Widows Peak" proves indisputably the ties to 70s GENESIS, but is also one of the better tracks, as is "Dans Le Parc Du Chateau Noir". "Headlong" has a weak start- the lyrics are again of poor quality- but revs up to a nice soaring chorus. "Thousand Days" is a good 80s pop song (the demo version isn't too far from "Murmur"-era REM) with touches of "Run Like Hell" in the guitar, but my throat hurts when I hear him straining for the high notes. Overall the band is a bit bland. Hackett was a more admirable guitar foil to the wall of synth (on earlier albums, at least) and the guitars here are both more aggressive and less original. The drums often sound like 80s Phil Collins but only occasionally aprroach his musicianship (and sometimes sound downright sloppy!). Gabriel balanced his dramatic qualities with a dry humor and a touch of anglo-soul, whereas Peter Nicholls focuses on precisely enunciated theatricality to add life to an unimpressive vocal timbre (think Waters' unsteady tenor mixed with an amateur, embryonic James LaBrie). On the other hand, the keyboards add lush and intersting textures when they're not relegated to merely chord pads. All-in-all "The Wake" is a mixed bag; kudos for keeping the dream alive in 1985, but in this case it is one of those dreams you have a hard time recalling once it's over. My three stars are stretched pretty thin here; I'd have kept it to two but this album is more historically important than the quality of the music ultimately deserves.

Had this site existed twenty years ago , I might have given this album maximum ratings but three or four years after I would have downgraded it of one star and now I can only give a three star. Why such severity, You ask? Well if at the early 80's , this was seen as a major album for the survival of prog (although , we never saw it that way back then for we did not know what lay ahead) it was the only prog available with Marillion's debut. So there was a serious drought for the thirsty proghead that I was , and was probably blinded by the fact that the album existed at all and did not realize the glaring weaknesses - especially in the inspiration/inventivity dept but also in the voice. I did enjoy this album back then , but I wonder if I would have given it a second listen had I been 40 back then (instead of those twenty tender springs on the counter at the time) or would my reaction be just acceptance. Mystère et boule de gomme........

A high IQ

I have had this album for some years, but for one reason or another (possibly because I have it on cassette!) it has never been a regular listen. There are strong shades of Yes in the music, "Drama" in particular came to mind a few times. Likewise, the sound of Steve Hackett's guitar echoed across several of the tracks.

That's not to say the music bears any direct connection with the music of Yes or Genesis, there certainly no suggestion of borrowed themes etc. It's very much the overall feel of the album I'm comparing, and purely for reference purposes. Other reference points to a greater or lesser extent would be Marillion, Pallas and Arena.

"The Wake" is a fine neo-prog album, with plenty of symphonic keyboards, melodic lead guitar, changing themes lengthy tracks, the lot. The Achilles heel to some extent is the vocals which are adequate but no more.

The feature track, "Widow's peak", is a nine minute epic with all the aforesaid ingredients, plus a strong performance. Many of the tracks merge together (a la Moody Blues), giving the album a continuity and apparently more complex structure. The version I have includes a "bonus track", Dans Le Parc". I can't say the track, an instrumental, adds anything to the album, but it does display once again the virtuosity of the band.

An enjoyable album of straightforward neo-prog.

Almost a masterpiece! Comparing with debut it's more carefully produced, with better recording work etc. The opening "Outer Limits" is very energetic, with enormous drive, also it is pretty structured as for 80s Neo ;). "The Wake" - the song - is a real hard-prog-rock hit, transforming into "The Magic Roundabout" with its unusual structure and thrilling climax (the closing solo is great, too). "Corners" seem to drag forever, but works on the song, really. "Widow's Peak", another epic story, is the longest track here. Another could-be-single "The Thousand Days" works better in demo version (at least, for me), while here it's ruined by a minute of synths' trickery. I adore "Headlong" ballad with its opening lamenting vocals - very haunting, very marillionic! - and that powerful coda...amazing, to say the least! "Dans..." also has some highlights, especially in solos (I wonder why this track wasn't featured on the album). A very mature work, highly recomended especially for those who doesn't believe in well-crafted 80's Neo-Prog ;)

Before writing this review, I took a brief look at the other reviews on this site, mainly in order to watch their ratings. Well, the lowest rating is good (3 stars) and almost half of the reviewers regard this album as a masterpiece (5 stars). I've decided to give it four stars: this album includes some of the best compositions IQ ever wrote but "The thousand days" is too mainstream prog and "Corners" even rubbish! And I would like to emphasize that loving IQ seems to be very subjective: I remember all those fanatic discussions between Marillion freaks, Genesis die-hards and IQ fans on our weekly progrock sessions, some even hated IQ and many Genesis - and Marillion fans still do! I think Dr. Phil and even Jerry Springer would have paid a fortune to these progheads for having them in their shows, what a highly dramatic and tremendous hilarious scenes! But seriously folks, this is an album to be carried away to a progwalhalla: what a wonderful and compelling compositions, loaded with captivating breaks, spectacular changing climates ("Widow's peak" featuring halfway propulsive electric guitar, bombastic Mellotron and dramatic vocals), splendid interplay between keyboards and guitar (this is IQ their trademark) and great soli. I can imagine that the vocals and the rhythm-section could cause some discussion but to me they sound OK and in general I like Pete's slightly dramatic voice. Of course "Corners" is a crappy maverick but things has been put right by adding the killer bonustrack "Dans le chateau du parc noir", what a breathtaking build-up and moving guitar solo, GOOSE BUMPS!! For the young progrock aficionados this album could sound a bit dated but it's so dynamic and I love the vintage keyboard sound by Martin Offord, from the hugh triple manual Yamaha CS80 synthesizer to the polyphonic Memorymoog and ESPECIALLY THE OMNIPRESENT M400 CHOIR-MELLOTRON SOUNDS SO IMPRESSIVE!!

With the bass thumping that starts out the album, then the wash of keyboards, and finally the song proper begins, it pulls you in with Nicholl's pleading voice and lyrics. This was the first album I bought by the band and immediately enjoyed Nicholl's distinctive voice. Even moreso, I put his lyrical prowess up there with Peter Gabriel and Dave Cousins, my two other favorite writers. Every song on the album has that IQ stamp, fantastic keyboards by Martin Orford, Mike Holme's Hackett inspired guitar work and Peter Cooks excellent drumming, mix them with a gothic sheen and Nichol's somber lyrics and you get a wonderful mix. Other than the syrupy 80's Genesis sounding "Corners" and the somewhat decent poppy song "The Thousand Days", there are huge classics on this disc. "Headlong" , "The Magic Roundabout" and the bonus track, "Dans Le Pare Du Chateau Noir"are flat out masterpieces of gothic, Genesis inspired prog. Just imagine "Wind and Wuthering" era Genesis mixed with a ting of The Cure/Bauhaus/Echo and the Bunnymen...new romantic prog. Don't forget, it came out 1985 and had to deal with the big English bands of the day. I give them props for trying something different. I agree with other reviewers when they say that this album is a great starting point to dip into the neo-prog pool. A four-star winner!

IQ's second album, simply titled The Wake, was released in 1984 after a spectacular debut in Tales from the Lush Attic. With this album, the group decided to focus on more concise pieces rather than sprawling epics, and to simply put it they hit the mark once again. Although the sound of this album is very 80s, there are a lot of progressive moments and times when you feel like you could listen to this stuff forever. Think of this music as technical instrumental passages coupled with melodic and well composed vocal sections (as with every IQ album). The group plays wonderfully on this album and the intricate riffs and patterns they play sound wonderful and are very creative. Mike Holmes, although not the looker at this period of his life mainly because of his hair, is the star of this album giving 100% and really showing that he is a very competent guitarist.

The album opens with the droning syncopated rhythm of Outer Limits. The bass and drums really connect well for the introduction of this song. The keyboard tone here is lush and vibrant and the chord progression is really unique. A nice 5/4 rhythm comes in right before the vocals, in which Paul Cook really shows his skills on the kit, giving some really nice fills. This steady 5/4 beat remains for the rest of the song, but alternates with a 7/8 and 7/4 pattern. The outro is the same droning beat that began the song. The Wake begins with a bang. Strong drumming from Cook and some quality leads from Holmes breaks into a powerful riff with some nice organ and distorted guitar. Holmes shines with a terrific solo in the middle of it and Orford is great with his synthesizer fills and his pseudo mellotron choirs.

The Magic Roundabout has a nice ascending and descending riff in the beginning, and Nichols' vocal on this track is really strong. The droning riff from Outer Limits is reprised here, albeit in a bit different form and a bit more subtle than the song itself. Holmes gives another great guitar solo at the end to put the icing on the cake that is The Magic Roundabout. Corners begins with some electronic percussion, and some precision playing at that. Orford then gives airy fills with his synthesizer while Nichols gives a passionate vocal performance. Tim Esau gives a dynamic bass performance on this one, offering a complex and catchy bass line that keeps the song at a groove. Some sitar comes in around the 4th minute during a very long fadeout, showing the experimentation of the group. It's not a terribly strong song, though; as it could have been cut down tremendously and there is a lack of real feel to the song.

Widow's Peak begins with some chorused riffing from Holmes in the vein of Steve Rothery or Alex Lifeson. Some anxious flute, courtesy of Orford, comes in with a nice 7/8 motif. Nichols vocal flows well with the soaring synths of Orford and the dynamic drumming of Paul Cook. Holmes gets another little section to show his riffing skills near the 6th minute, and he really gets the Rothery vibe on Perimeter Walk (part of the Marillion song Blind Curve). The ending of the song features some strong work from Orford and Esau. The Thousand Days begins with some nice riffing from Holmes and a great bass line from Esau. The textured work from Orford and the consistent work from Cook make this song a really enjoyable one to listen to. Headlong begins somberly with some emotional vocals from Nichols and some anxious keyboard work from Orford. A nice guitar riff comes in, and it soon has this great feeling of mystery as Orford gives a dynamic keyboard solo that takes many twists and turns. Mike Holmes gets some time to shine as well, giving a very well played solo involving many slides up and down the fret board the album. In the end, this is a terrific (and epic) closer to the end of the album.

Overall, this is a terrific album that really is one of IQ's finest moments. My only gripes with the album is the sub par production (while not terrible, it could have been better) and Corners is a song that could have used a lot of work to perfect. In the end, though, you can't go wrong with this album, a terrific starter for someone just getting into IQ. 4.5/5.

The only album, out of the entire IQ discography, that pleased me as much as The Wake was their latest Dark Matter. Otherwise, this album meets the condition of masterpiece, of pure brilliancy and of unrivaled state of music, of concept and of play. The journey of IQ, for me, has only two extremes of great accomplishments: the 1983-1985 period and the new millennium breath (that meaning four albums, in total!). The rest was an undulated course towards fall, modest stagnation and in the end an optimistic recovery in modern times. And these first two years with their first two albums were great as a feeling: Tales From The Lush Attic was a smashing debut and a great definition of what IQ is, means, reflects, while The Wake comes as a 'casual´ better, more complete, more definitory creation. Aware that I come quite in a conflict with a general view of the other reviews here, which don't shine a five out of five stars perspective (I've looked succinctly, out of interest) and aware that euphoria probably governs me, I nominate The Wake as their best, most extraordinary accomplishments. For it satisfies me in its entire through its melody, its form, its presumable fabulous meaning. And that has to mean something. Such a feeling cannot go completely wrong. The manifest as a construction, as a whole context is probably not of masterpiece case, still close enough. Compensating some few glitches is however the music and the impression, which complements the manifest and creates a memorable moment. It is the simplest of all visions, the main focus of all perspectives - the music and its message - that makes every day a delight and an untouchable scape. And the emotion of being constantly thrilled, of moving in the flow of the sound, of having an entire repertoire as an instrument of pleasure and satisfaction, is what makes The Wake splendid. This is a top class accomplishment and a major reference. Yes.it must be total euphoria the language I speak.

Maintaining the essence originally approached in Tales and giving it enough impulse to create an even more special look, The Wake is the simple concept of perfectioning the style, polishing the diamond. As the values of Tales are more than notable, the way into higher results isn't even hard. The lack of epic-sized composition can be considered the opposite of an evolution, but I think that the form of the repertoire here is superior to the long, perhaps tad pretentious, for sure not totally perfectioned, pieces of Tales (and that can go just as well for Dark Matter, although in much smaller proportions). Anyway, a comparison between the debut and this grand album isn't even subject for discussion, except this side aspect of IQ going on more and succeeding on much better. Less on the side of sophisticated conception and elaborate development (although don't think for one minute that these assets are non-existent), The Wake is the type of album that settles on a wonderful interpretation, with moments of pure ecstatic reflection, growing on the soul's content and making no concern on the weight of things, well-balanced, well-organized in features and in manners. The wonderous climax in a short pill. Acknowledgement comes here in expression, in exceptional quality. Mood is given by the constant ideals. The complexity lies in the way such music can create so many emotions. The Wake resembles subtility, refinement, ethereal movement, dreams that don't collide often with reality, a form of music that demands just the keen affinity and the power of savor, passion and open-mind dynamics.

The pieces seem to sustain the unitary of the masterful thought. At the base of music, they mean beauty, appealingness and complete artistic speech. At the focus of the genre, they are key points (well, some.) and grandness. I've said it by now, in a prevalent way everything is of high class, of good arrangement and of clean move. The first three pieces, Outer Limits, The Wake, The Magic Roundabout, are top-notch, the first setting dimensions beyond imagination, the second-though easy as music-is a deadly charm and the third seeking an orientation towards shivering complexity and absolute chords. What follows are pieces that keep up the pace and certainly offer their share of unforgettable moments (small pills definition, once more.). A song-by-song characterization I won't make, just pointed out a few things. Headlong ends everything in a special great tone. Often I feel it neglected by views (after all, I do remember waiting very much to hear it performed live). The end is something that touches personal sensible chords. Anyway, summarization is hardly good at anything. The experience is unique.

Therefore I applaud and fully appreciate The Wake for everything it holds, expresses and denotes. Although I'm probably the least of experts in this matter, I would pronounce regarding this album upon a most essential neo-prog creation and a most notable work of music, stretching towards the general of progressive rock. Going off-subject one more time, IQ isn't that good overall, nor are they the divine significance that is Marillion for neo-prog. But what The Wake did is absolutely magnificent. Masterpiece of IQ.

4.5 stars.A record about death but it's not as dark and moody as one would think. This is without a doubt one of IQ's best albums.It's also the first IQ record i ever listened to.It's pretty cool that the theme in the first song "Outer Limits" can be heard in the final song "Headlong".Four of the seven songs have mellotron provided by Mr.Orford,who also supplies us with moog,synths,flute and keyboards. "Outer Limits" begins with an ominous bass line coupled with synths until we hear the amazing vocals of Peter Nicholls.A steady beat with lots of mellotron follows.I really like the synths 3 1/2 minutes in.Nice guitar after 6 1/2 minute too."The Wake" has some terrific drums and keyboards,along with mellotron and some splendid guitar.The intro is so powerful.Check out the guitar after 2 minutes.This song blends into "The Magic Roundabout" which opens with a powerful atmosphere and lots of synths.It kicks in before 2 minutes.It settles 3 minutes in,it's such a beautiful section as Peter comes in vocally.I also like when we get a calm 6 1/2 minutes in and the gorgeous guitar that follows."Corners" opens with percussion and drums as synths then reserved vocals come into this laid back tune. "Widow's Peak" has lots of time changes,and i just love the sound of this song.It opens with some atmosphere before kicking in around 1 1/2 minutes with mellotron.When the vocals come in i'm smiling.God bless Peter Nicholls! I really like when it settles 2 1/2 minutes in.Great section! It kicks back in with guitar leading the way.Paul's beating the hell out of his drumkit here.Another calm 4 1/2 minutes in before kicking back in around 6 minutes with vocals.Beautiful guitar solo 8 minutes in.What a song! "Thousand Days" might be my favourite.It's so moving for me,just an uplifting and emotional track really.It has a spacey ending. "Headlong" features fragile vocals and mellotron comes in before a minute.It starts to build after 2 minutes.Incredible! It settles again 3 1/2 minutes in then a minute later we get that familiar and uplifting melody.I have to mention the bonus track called "Dans Le Parc Du Chateau Noir".This song is simply an amzzing addition to this album.Mellow to start before kicking in after a minute.A powerful soundscape before 3 minutes.No melody just waves of synths.A guitar melody comes out of it and leads the way. This is one of my favourite Neo-Prog records and i highly recommend it.

To me, this album and Twelfth Night's "Fact and Fiction" are the ultimate masterpiece in the 80s era of the British neo-prog wave. Both albums comprise the frontal energetic vibe of the time's rock scene and the high standards (musically and dramatically) of vintage symphonic prog, with special regards to the influences of Gabriel-era Genesis, Camel, and as a plus, UK. The latter point of reference can be clearly noticed in Ordford' keyboard input for most of the darkest passages in the album. Although... this album as a whole keeps a consistent dark mood, which is logical considering the integral concept: a man passes away, takes a bitter look at what used to be his earthly life, indulges himself in doubt, regret and fear before taking the definitive step into the world of the dead. So, the drama is not in the moment of death or the arrival at Heaven, but in the sense of confusion that drowns the dead man's soul in the meantime. Well, the instrumentation and the musical ideas fit Nicholls' lyrical adventures and ever growing singing energy quite well. To be more specific - the guitar passages and the rhythm section bear a harder edge than on the IQ's debut album, while the keyboard department finds the mellotron, string ensemble and organ sounds assuming a sort of leading role, in this way, creating horror movie ambiences in lots of places. The intro section of 'Outer Limits' kicks off the album in the vein of UK's anthem 'In the Dead of Night', until things get settled in a Genesis-meets- punk atmosphere, very early IQ, indeed. After the final sequences of bass, drum and agonizing breaths, the powerful namesake track gets in and sets a very ballsy mood: the band flirts with heavy metal on this one. Nicholls' singing almost effortlessly equals the guitar aggression: one of his most amazing performances during the early 80s. 'The Magic Roundabout' returns to the epic essence of the opening song, while bearing a more melancholic spirit: the keyboard orchestrations and the fretless bass guitar are almost surreal. Not as epic but prolonging with the dreamy mood, 'Corners' shifts things to bring a Peter Gabriel kind of thing with its electronic-ethnic structure, based on a mixture of white reggae, slight Arabic textures and languid techno-pop. I love this song for what it is - a nice, refreshing interlude between two epics. The following long track is one of my fave IQ songs ever: from the eerie prologue to the brief guitar flourishes at the end, everything in between makes 'Widow's Peak' a definite epitome of the band's most bombastic side, equalling the emotional engagement of track 3 and surpassing the clever complexity of track 1. 'The Thousand Days', on the other hand, has a more straightforward appeal: perhaps the best song The Cure has never done? The floating synth layers that fill the aforesaid song's aftermath serves as an adequate prelude to the final track 'Headlong'. Although bearing a gloomy mood similar to the other epics, the closing section sets a playful Celtic-based motif, in this way protraying the optimistic redemption of the soul that comes to terms with its ultimate fate. Of all bonuses, 'Dans le Parc du Chateau Noir' is the most impressive one, since it provides some more of the offical repertoire's dark atmosphere, even taking it to a deeper level of uncomfort and mystery. "The Wake" is a defining masterpiece of 80s prog.

I am amazed by the high praise this album garners-- it is laughably mediocre when compared to their principle inspiration's (Genesis) and their contemporary's (Marillion) excellent work. "The Wake" is a poorly recorded and performed mess of songs that never get off the ground or manage to spark the intended artistic interest generated by the band's prog forbearers. The rhythm section is bland while the guitar is shrill and equally unexciting... and the vocal's must be a very acquired taste. That being said, the songwriting is occasionally interesting, but the performances do little to get one excited about them.

I suppose IQ's contribution to the short-lived prog revival of the '80's is worthy of respect, but those looking for an example of this era's sound would do better seeking elsewhere. Listen before you buy!

Songwriting: 2 Instrumental Performances: 1 Lyrics/Vocals: 1 Style/Emotion/Replay: 1

IQ's debut album was very promising and I was really enthusistic this album. The IQ sound was all there since their first work, so this one is a very nice follow-up.

In just less than two year's time, IQ will come back with a very sophisticated album. Of course, the recipe will be almost the same; but since it was very tasteful, there are no fundemental problem with this aspect of their work.

Most numbers flow nicely the one into each other and "Outer Limits" sets the pace. Imposing keys, tortured vocals (the filiation with Gabriel won't disappear of course). I mentioned already that IMO Peter Nicholls sounds even more as Gabriel than Fish for instance. His solemn tone being less "spectacular" than Fish's one, but as powerful. Just another form of acting I would say.

The title track although short, is expressive and particularly well balanced. Imposing keys (as usual, should I say). This is really a neo-prog anthem. Heavy bass and solid drums. The necessary instrumental guitar touch and a very catchy melody. To summarize : a good song.

Of course with "The Magic Roundabout", we seem to be transported into "Watcher". It is amazing to notice how many times this fabulous Genesis number has been partially used. It is evident for about two minutes: full of mellotron and then the supreme eight notes riff. Incomparable (I'm talking about the original one). Fortunately, this song will bring some more feelings than just past history. Orford is again brilliant on the keys.

The reggae-ish "Corners" might sound funny, but it bores me to death. Press skip. The poorest IQ number so far.

Fortunately, as if IQ needs to be forgiven they will provide us with the best number of this album. "Widow's Peak" is definitively the peak here. Mike produces great guitar work and the whole band is absolutely bombastic. This is a wonderful IQ track. One of those for which I have the most profund respect. A gorgeous and spacey instrumental part precedes a section introduced by a similar riff as in "Run Like Hell" (another often used theme amongst neo-prog bands). Peter sounds very emotional and adds this little extra which makes the difference between a good and a great track. Wonderful closing.

In comparison "The Thousand Days" is a simple yet attractive number. Not complex at all. Just a simple, but good song. I guess that from time to time, bands can produce this type of songs without being regarded as being too simplistic.

The closing number "Headlong" sounds sad. A very weird atmosphere prevails. We'll get the famous riff here and there (you know "Watcher"...). It is full of harmony. A great closing number. Such numbers can only fill your heart with the utmost pleasure. This is what prog is about : generate emotions. And IQ knows how to do it, believe me.

The remastered CD version features three bonus tracks. I am totally in love with the French titled "Dans le Parc du Chateau Noir". It is simply my preferred song of the whole. The guitar is incredible, so passionate (thanks again Mike). We'll even get some reminiscence of "Watcher". Would you believe ? Brilliant. How this number was not considered for the album inclusion will remind a mystery. Thanks for having remembered that it ever existed, friends. The other bonus tracks are alternate (and shorter) versions of numbers featured on the album. I have never been found of "edits". So, my judgment will not change with this one.

If I hadn't stop listening to prog music for so long (1978 - 1996), I guess I would have been REALLY in love with such an album at the time of its release. Since I have discovered all these works since then, there is no harm, only a dealy. I am very happy to share my enthusiasm about this album and more generally about this band.

Great music. Great rating. Four stars.

IQ - what an intelligent name for a prog band. The wake along with Misplaced childhood are among the best albums of neo-prog if not the best. IQ truly carried the torch of progressive music into the 80s. The second album, "The Wake" are among the very finest progressive rock albums released in that decade. ESSENTIAL PROG!!! to all prog listners. Forte tracks i find Magic roundabout, Window's peak and Outer limits. The musicians are among the finest in prog, specialy Peter Nicholls (very gifted singer, unmatch tone of voice), and the true master of this album Martin Orford, who really knows how to use the instrument and to create something valueble for then, now and for tommorow. 5 stars and essential album. One of my all time favourite album. Enjoy.

IQ takes a special place in proghistory because they were one of the few in the 80's (Marillion, Pallas + some less known) at least for where it concerns the neo prog and they had to keep prog alive. In the middle of these 80's they produced this album and though that was important I kept listening simply to the musical effort on itselve and judged the album critically. I wasn't very impressed. I compared it to Marillion which was better then to my opinion. I thought this was all a bit slow and not exactly compelling. Prog has to be compelling for me that's why I love it. If I would judge it now it would be even more critical, there is simply more material for comparison and the standard is getting higher and higher. I'm sorry I can't let sentimental reasons (the siginificance for progmusic in a difficult period) have the upper hand in me to come to the judgement for this album. I am going to be sober about it and have to give it 2 stars only.

With their second effort,IQ try to create a more personal style of neo progressive music.The keyboard lines of Martin Orford play a leading role in their music,the guitar lines are measured and simply excellent and the voice of Pete Nicholls remains a trademark of the band.All in all,what they managed to do,is to create another historical album of prog rock.''Headlong'' is in my top 10 list of the best songs in prog ever.A ''BUY OR DIE'' album!!!!!PROG4EVER!

IQ hasn't quite come into their own yet with this release. The Wake has some good, albeit derivative songs that won't always coax you into further listens. The longer tracks "The Magic Roundabout" and "Widow's Peak" are the highlights. Certainly you can hear the band's creativity start to come out, but it won't be until the 90's when we really hear the band in full force. Fans of melodic proggy rock and the band in general will enjoy the majority of this, but should be aware that the production is weak and the band put out some much better records, like Subterranea and Dark Matter.

Given the staying power of IQ throughout the years, it's great to go back and hear how they got their start. I have to say, if I had been smart enough to be listening to this album when it came out, I probably would not have predicted much long-term success for the band. This is definitely an album created by young, talented musicians who seem to be on the same page from a composition standpoint. However, they still needed to mature as a group, which they certainly would do in later albums.

The extended pieces are for the most part well done, especially given the time period. I think even at this point, IQ had their own identity and were not simply copying Genesis as best they could, even though some similarities are much too obvious to even attempt to deny (such as Holmes' Hackett-like guitar and Nicholls' Gabe-esque wails). Outer Limits is an especially refreshing opener, with an ominous bass/synth intro leading to the bright, uptempo vocal section. Orford also quickly establishes himself with tasteful synth arrangements and riveting flourishes. The Magic Roundabout and Widow's Peak are also excellent pieces, mixing up tempos and moods throughout and leading to full, guitar driven finishes. The one exception to the rule is the closer, Headlong. The conclusion is catchy and well done, but there's too much build up featuring Nicholls on vocals--his voice is just not of an acceptable quality to be that exposed for that long.

The shorter songs are also generally high quality. The title track is relatively simply and heavy, but offers some great guitar and is catchy if nothing else. The Thousand Days has a basic chord progression that matches at least three other popular songs I can name off the top of my head, but is at least uptempo and easy on the ears as well. The only true dog on the album is Corners: simple, plodding, and wholly uninteresting.

Given the creativity, historical relevance for prog's future, and the fact that I don't classify this as a purely Genesis-derivative album, I think four stars seems reasonable, though certainly no higher. Beware that Nicholls' voice is quite rough--generally it is not a good idea for vocalists who have nasally and shrill voices to forget about paying attention to their pitch, and he is no exception. Fortunately, most of the songs are written well enough and feature enough going on underneath the vocals that the often poor singing does not distract terribly from the listening experience. All in all, The Wake is one of few quality and cohesive albums from the time period, and as such should be given proper respect.

Not bad for being born in the reckless mid-eighties. Even though it's not one of the best productions by IQ over the years to me, I have to admit it's one out of their entire discography that gives the band recognition. Up to "The Wake" the sound was still quite appealing to MARILLION's and very poor in elaboration in spite of the marvelous execution of good old Martin ORFORD on keyboards. I think of this record as a determinant transition for IQ to jump right on a very unique seal that landed steady on the years to come in order to consider this English band as promising.

The musical resources applied in here are very reliable and enjoyable most of all. It was the time where Peter NICHOLLS still covered up his face in make-up a la GENESIS and where the performance overshadowed the presence on stage. Still, great songs were arranged and released in "The Wake", just like the self-named song and "Widow's Peak", that happen to be some of the Neo-Prog tracks I enjoy listening to the most.

Other long pieces were included as well but weren't that convincing to me out of first listen like they're now. Take "The Magic Roundabout" for instance, the track was intended to be impressive and elaborated somehow, but I feel no remorse by saying it's anything out of this world. If not lousy, it isn't a jewel either. On the other hand, "Corners" is so extremely experimental that it provokes no surprise at all and thus, it brings nothing to the table by being plain and merely poor.

Regarding one of the most important elements on any fine production, I'm talking about the lyrics here; "The Wake" is a bit disappointing on that issue yet very less proposing and quite corny to tell the story of a dead man in sequels. Such finger pointing nark goes especially to "The Thousand Days" and "Headlong". There are still some pop-rock elements that outshine the progressive effort whatsoever.

I'm reviewing The Wake based upon the 2006 re-issue released by INSIDE-OUT label which includes an outstanding bonus track. "Dans Le Parc Du Chateau Noir" is a brilliant turning point that under my own perspective, it should've been added on the first edition. It's just like this piece belonged to a whole different album. The elements are linked superbly, this is fair ground alright.

So as usual, I'll give you a piece of my mind of the album. Good, but not essential. A remarkable effort but far from being amazing. It's quite a keeper though, but don't let your hopes get that high when lending ears to it. Deservedly, three out of five ranking stars.

The Wake is the second studio album from progressive rock act IQ. It´s an album I´ve owned for about six or seven years but haven´t listened to much before recently. It´s a bit of a shame though and I´ll definitely give it more spins in the future.

The music is very Genesis and Marillion influenced which means that melodic and beautiful keyboard and guitar soundscapes and generally melancholic vocals fills my ears when I listen to the songs on this album. The mood is actually pretty dark and intense at times and it suits my taste really well. Songs like Outer Limits, The Wake, The Magic Roundabout, Widow´s Peak, Headlong and the CD bonus track Dans Le Parc Du Chateau Noir are really great dark and symphonic progressive tracks. The Thousand Days is an uptempo song. Still melancholic but a bit lighter in mood than the rest of the songs I´ve mentioned. The only song I don´t like much is the silly Corners. It´s not a very good song with a strange instrument choice. Tablas and Citar ? IQ goes psychadelic rock ? I´m not impressed. The two other CD bonus songs are The Thousand Days and The Magic Roundabout in demo versions. I don´t like the idea of putting out demos as bonus tracks so that´s not a plus in my book. I´ll take it for what it is though and not judge the album any harder because of this.

The musicianship is excellent and we´re treated with lots of beautiful and varied keyboard playing from Martin Orford and the same can be said about the guitar playing from Mike Holmes. The rythm section isn´t the most exciting part of the music on The Wake but they are solid. Peter Nicholls is a great singer. I really enjoy his melancholic style. Great emotion.

The production is a bit raw but still enjoyable. With a more warm sound on the drums it could have been better IMO.

The Wake is a great second album from IQ and fully deserving a 4 star rating from me. There are some obvious flaws on the album as I described above but overall it´s an excellent album that fans of emotional and dark symphonic progressive rock should find pleasure in.

This album of neo-prog IQ music is good. I think, it will be more correct still to name this music "symphonic rock" ( the same with earlier Marillion albums). You can feel strong influence of Yes and Genesis there, but as a result the music is quite original. Pretty melodies, multi textured sound, complex instrumentation. Vocal as usual is IQ strong part.

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.

Back in '85 I was a huge Marillion fan. I remember being nailed to the ground when those first chords of Misplaced Childhood rang from my brother's room. I never checked out IQ though and judging from this album I didn't miss much. Marillion was obviously in debt to Genesis, Floyd and Hammill but at least they sounded professional and quickly evolved into a personal style. A clone of the imitator was the last thing I was waiting for and that is exactly what IQ is.

There are a few differences with Marillion. First of all, if there's one enjoyable aspect about this album then it is the huge Steve Hackett influenced guitar playing of Mike Holmes. Steve Rothery was more of a Gilmour/Latimer man. Mike Holmes is Hackett and he does it quite well. Also Martin Orford is good on keys. They are too loud in the mix but generally provide a good background atmosphere, very reminiscent of 'soft-Genesis' ('75-'77 era) with a slightly melancholic twist.

The biggest distinction with Genesis / Marillion is the voice of Peter Nicholls. It is not reminding me of Gabriel and Collins at all. Unfortunately that is not a good thing as it is really unsatisfying and at times grating. On a track like Outer Limits he can hardly hold his tone. His delivery is rather stale and lacks sense for melody. As a result the vocal lines are very predictable and unimaginative. Easily the worst vocals in prog since Chris Squire ;)

Given the general appraisal I had really hoped I would enjoy this album but it is second-rate really. Wish I could close my ears to the vocals and just listen to the lush keys and guitars, that might make it deserve one star more.