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IQ has been one of my all time favorite neo-prog bands and rates on an equal footing to the likes of MARILLION, PALLAS and PENDRAGON in my opinion. Ever is certainly the pinnacle album to have from IQ as it blends all elements delivering a well balanced, full concept like album. Musicianship is exceptionally high here with some great guitar/bass interplay covered by detailed, dark, symphonic synths which are surrounded by the detailed and solid drumming/percussion of Paul Cook. Peter Nichols delivers a solid vocal workout as well and brings in my opinion his best to the band here.

Probably the best effort by IQ, a perfect balance in the middle between the mainstream exigencies, in the vein of a few bands from the UK, such as JADIS, and the Romantic style by the early GENESIS. A special mention for the following tracks: "Leap of Faith", in some circumstances resembling the instrumental section of "Cinema Show" by GENESIS, then "The Darkest Hour" and the mini-suite "Further Away".

One of the best New-Progressive works of the nineties, except on a few discontinuous and boring parts.

The musicians are very intelligent and very emotional here; they apply those 2 aspects in their songs: the result is a sentimental & complex album that makes you dream awaken!

Out of 6 tracks, 5 are outstanding; the other one, "Out of Nowhere" is very good. This record is one of the best concretization of a modern and original continuation of the GENESIS of the GABRIELl-era. After you've got the post-MARILLION neo prog culture, it becomes clear that the IQ albums of the 90's do not sound like MARILLION! They have their own sound and style. While MARILLION's prog principles and structured songs have brutally switched for a shocking & disappointing style of music, IQ progressed, refined their sound & production, and actually they never gave up, stronger than ever after each album made, especially this one.

This record contains VERY varied & professionally played keyboards parts. Unlike JADIS, Martin Orford does not only accompany the rest of the music; he absolutely produces unforgettable synth patterns, always melodic, magic, pleasant and emotional. The miscellaneous VERY melodic guitar solos and acoustic ones complete very well the sentimental and sophisticated omnipresent mood. Paul Cook's drums are, as always, excellent and varied. An interesting point is the bass: I really LOVE the very refined and subtle fretless parts! They fit so well with the other instruments! The bassist, John Jowitt, also played in JADIS: he is excellent here, never monotonous. Peter Nichols' lead vocals are very good, and the backing vocals are OUTSTANDING on "Came Down". I find the rhythm rather slow on most of the tracks: the musicians take the time to sound good and deliver emotions.

IQ is a band that has always progressed, and it now seems they are at their best!

EXTREMELY RECOMMENDED!

IQ's masterpeice.Pete Nicholls returns and the band recover their purpose and direction.The songs,playing and production quality are of the highest with no real standout tracks but just a pleaure to listen to from front to back.A real desert island disc if EVER there was one!

Although subsequent IQ albums would prove to be quite a match, none (IMHO) equal this masterpiece. Every single track on it has something magical about it and the album contains absolutely no dead moments whatsoever: it is pure genius from beginning to end. It's as if the band members had taken the best of everything they had ever written and compressed it all into a 50-minute CD. The melodies, the arrangements, the many twists and turns, everything here fits in neatly to produce an hallucinating effect and showcases an incredible array of musical colours that leave the listener speechless. These guys can turn your senses about so easily it's almost painful. Granted, Peter Nicholl's voice may not be as dynamic or powerful as that of a ROB SOWDEN (ARENA) or a STU NICHOLSON (GALAHAD), but I can't imagine anyone else doing such a fine job as he has done here. This music is genial, exhilirating, breathtaking.

"Ever": the kind of album that makes you want to shout out loud 'Thank God for Prog!!!'

I bought this album recently, after purchasing The Seventh House. (Already reviewed by me.) I had heard that this one is regarded by some as their finest album. Well, it is certainly a decent effort, and it is hard not to like it. The opener, The Darkest Hour, starts out briskly enough, with nice guitar over keyboard, then settles into a steady paced rhthym, overlaid with a pleasant melody. There are some hints of Genesis here, both guitar wise and vocally, but they are only faint ones. The song has some nice textures and changes throughout, and the keyboards fill out the sound smoothly. I suspect that Martin Orford is the dominant member of the band, although Peter Nicholls does have a distinctive voice and Mike Holmes is a technically gifted guitarist, although he remains in the background much of the time. The track ends quietly and the album moves on to the second cut, Fading Senses. This is divided into 2 parts, the first part being the vocal, which has some nice gloomy lyrics - right up my street! The second part is instrumental, and very melodic at that, well constructed and easy on the ear. Then comes the 3rd song, Out Of Nowhere, which is my least favourite on the album. Drums and keyboards fade in nicely, but then the guitar comes in with a blatant copy of Queen's Now I'm Here. In fact, I found myself singing the first couple of lines to it. Now I quite like Queen, but this riffing doesn't suit IQ at all. Once the song gets going, it is in fact not bad, but seems hastily put together, and is, in my opinion, the closest the band has come to 'filler' material. It seems almost 'poppy'. However, the next track is the epic Further Away, lasting nearly 15 minutes, with intricate changes and nice lyrics. A well crafted piece of music which shows the band at its best. All the musicians work well here, and the song ebbs and flows. A good one! Track 5 is Leap Of Faith, which is another favourite of mine. Although the melody is rather obvious, the guitar solo at the end is very well put together and is eminently listenable! This leads, finally, into the last track, Came Down. For some reason, this reminded me of Afterglow, off Wind And Wuthering. From the way it is lead into, to the pace and style of the song. Not bad however! My three faves are The Darkest Hour, Further Away and Leap Of Faith. None of this is essential, but I would have given it an extra half star if it had been possible. The Seventh Hour is far superior, in my opinion, but then everyone thinks differently! If there is such a thing as 'middle of the road' in prog, then IQ, and latter- day Marillion must be the leaders in it. The music is safe, pleasant, almost easy listening. Technically excellent but without providing anything new to the genre. Worth a listen though!

Wonderful and pure Neo-Progressive!!!

This album represented the Peter Nichols's return to IQ after 8 years out of the band, and hearing this album you can taste the magic between him and the rest of the band's musicians. His voice is very special, although he is very Peter Grabriel/Fish influenced...

The only thing I don't like of this album is the keyboards's sound, too much in the 80's way,fact that spoils some parts of many songs... Nevertheless, these songs have a lot of quality, without a doubt.

Best tracks for me: The Darkest Hour, Further Away and Came Down.

A must for Neo-Progressive lovers.

A True Masterpiece of Neo Progressive album!

Friends .. something has gone totally wrong with me: how come I've been reviewing 572 prog albums in this site and I never touched this master piece album? Oh no . this is a fatal error! In fact, this album means a lot to me because it remarked the return of my trust with prog genre in 1997 / 1998. Why? Practically after Fish left Marillion, I did not see any future of prog music and I was not aware at all by the time this album was released. Until one day I visited my old prog friend, Ricky, 's house in Bandung sometime in 1997/1998. He played me this album and it struck my head the first time he spun the CD for me. Fabulous music! I asked him on how he purchased the CD and he introduced me to Malcolm of Cyclops where I finally placed my order of this CD. Yeah man . prog's back to my life again after practically 5 years (or so) I was a passive prog lover. What I mean "passive" was that I still proggin' but I did not grow my collection - I just played old stuffs of Marillion first four albums, early Genesis, Pink Floyd, VdGG, Gentle Giant, IQ The Wake, etc.

As I mentioned at my review on "ForEver Live", this album was uniquely released through a live performance that was recorded and released later in the double CD format of "ForEver Live". So it's a critical album as far as the band's career in prog music arena. The masterpiece of masterpiece of six tracks presented here is Further Away where the band admitted themselves that this song which consumes 14 minutes duration was hard to play on stage. They dropped this track to be featured in the live CD after long tension during rehearsal. I have to admit that this track is so powerful in terms of neat composition, multi-part structure, many tempo changes with very smooth transition. It starts off with a mellow and melodic opening of keyboard and vocals, augmented with innovative bass work by John Jowitt. The first three minutes is truly a killing melody with harmonious sounds. At the end of of three minutes part the music blasts off in heavy mode with powerful soft guitar riffs and dynamic basslines. The excellent sonic quality helps elevate the great nuance of music with jaw dropping drum line. WOW! What an energetic music man ..!!! The song ends up with another mellow part with floating keyboard work. Masterpiece! (Note: whenever I play this album I always repeat this track for 2 or 3 or 4 or 5 times. It's so rewarding my friend ..!)

Nothing is good track in this album as each track is totally excellent PLUS or masterpiece. The opening track "The Darkest Hour" has a hard driving rhythm and pounding bass lines augmented with keyboards. This rocking track with heavy 70s prog touch is performed excellently by the band. The band then provides a slower track with "Fading Senses" which has a catchy melody using excellent combination of Nicholl's voice and long sustain keyboard work by Orford. "Out Of Nowhere" brings the music back into another upbeat tempo and high energy combining the work of drums, bass and keyboard nicely - in a sort of staccato style music. Powerful music. The two concluding tracks "Leap of Faith" and "Came Down" wrap the album excellently. These two songs also very strong in melody.

It's actually not a concept album from IQ. However, listening (read: enjoying!) this album is like going through a series of parts in one cohesive story because the combination of melody, tempo, compositions and beats from one song to another have formed naturally like a journey, like following a story. I have no little complaint at all with this wonderful album; even the sonic quality is excellent. I always play this album with LOUD volume at my amplifier while reading the lyrics and sing together with Nicholls. It's a great joy, I tell you ..

So, how would I recommend this album to you? Simple, GET IT man! Especially if you love symphonic prog with catchy melody in moderate complexity of the composition. Yes, most of IQ music are not complex but they are very enjoyable and accessible to many ears. This album is a masterpiece of neo prog album. HIGHLY RECOMMENDED. Keep on proggin' ..!

Peace on earth and mercy mild Mother Brown has lost her child ...

Progressively yours, GW

IQ is one band I've really shifted position on over the last couple of years. While I'd previously dismissed all post-Fish Marillion neo-prog bands on the basis of some unfortunate encounters with Galahad and Pendragon, I was gradually won over to IQ's cause by the sheer power of their 2004 release Dark Matter. That album now stands alongside Marillion's best in my estimation, and it has caused me to investigate IQ's past with renewed vigour.

Ever was my first stop, and despite being a decade older than Dark Matter it sounds almost like a sister album (lending weight perhaps to the accusation that IQ keep making the same album over and over again). The main strengths of IQ, in my opinion, are the vocal presence of Peter Nicholls and Martin Orford's keyboards, and they are very much to the forefront here. I'd have to say that overall though, this is clearly a weaker, less consistent album than Dark Matter.

Although there are some strong (albeit occasionally pop-inflected) songs in Leap Of Faith and Come Down, this album can be quite frustrating. The Darkest Hour is rather meandering and Out Of Nowhere is outright 80s pop-rock cliche. It's safe to say that the shorter songs generally don't match the standards of the average composition on Dark Matter and there are, in fact, times when my old prejudice against the "overly synthy synthesizers, tinny drums and bland lead guitar sounds" of neo-prog resurfaces.

Even when this album comes into its own, on the 14 minute centerpiece Further Away, the song drags on a bit. Still, it's surely one of IQ's best songs and gives notice of the kind of heights the band would later scale with Dark Matter. With an ethereal beginning (all swirly bells and light dancing synths) underpinned by (the oft-unnoticed) John Jowitt's delicate bass work, this piece is then led by Nicholls into much rockier territory. It threatens to get boring after a while, but an Offord synth special at the 7 minute mark threatens to turn the song on its head. Unfortunately the momentum is frittered away by the time the song concludes.

Still Ever is not too discouraging an album, and indeed might make quite a decent entry point for the newcomer ... as long as they bear in mind that the best was yet to come! ... 53% on the MPV scale

After a few years hiatus, Mr Nichols returned to the fold and the band recorded a near masterpiece. What I like most about IQ is the gothiness. Not many Neo-prog bands I can think of that compares to IQ when it comes to mixing a gothic atmosphere with a tinge of mid-period Genesis. With Peter Nichols sad vocals singing songs of longing tied in with Holmes Hackett-like guitar and Olfords fantastic keyboard work, you have a combination that, for me, is the best in the genre. The album starts off with a song titled, "The Darkest Hour", which actually is NOT the darkest. It's more upbeat, especially in the beginning, although towards the end it slides into a more gothic groove. The following track, "Fading Senses" has all the trademarks of classic IQ., Nichol's haunting lyrics coupled with Olford's church/choir keys gives you a forboding feeling. It's in the second section of the song that Holmes guitar has a sadness that reminds you of classic horror soundtracks, vampire-like and spooky. Really cool song! "Out Of Nowhere" starts out rocking and is catchy as heck. A great 5 minute track. "Further Away" is the longest track and has the sound that IQ would use for the rest of their career up to this day. Very Genesis like courtesy of Holmes guitar, you'll definately hear "Wind And Wuthering" throughout the song, but he does have his own style especially when he reaches the higher, soaring notes. A fantastic track with Olford going crazy on keyboards halfway through. "Leap Of Faith" and "Came Down" meld together to make up another long track. Nichol's best singing are on these songs, with "Leap Of Faith" another classic IQ track with that wonderful gothic feeling running throughout. Olford definately takes some cues from Banks on this track, (Listen at the 5 minute mark). Overall, you can't go wrong with this album. A classic in the genre and a good starting point for the new to neo-prog. Is it their best? Not yet, but it's damn close.

IQ's album Ever ushered in the return of Peter Nichols to the lineup after a brief hiatus in the late 80s (in which they recorded two albums with a different vocalist, Nonzamo and Are You Sitting Comfortably?). This album also ushered in a return to the more progressive IQ, as their previous two efforts were more mainstream oriented and they lost the edge that they once had. What you can expect from this album is intricate and technical instrumental passages coupled with well timed and well executed vocal sections to create some of the most complex neo prog out there. The entire band shines, from the lush and melodic solos of Mike Holmes, to the keyboard wizardry of Martin Orford, to the precise and superb bass playing of John Jowitt, and to the technical and lush drumming of Paul Cook. This album is not their best, but it certainly is not their worst.

The Darkest Hour opens the album strong with some solid riffing in 7/8 and some great keyboard textures from Orford. Once Nichols voice enters the song, the listener can already hear the old IQ come back. Add some solid guitar arpeggios from Holmes and some solid drumming from Cook. The chorus breakdown is a nice mixture of solid bass textures and some great synthesizer lines from Orford. Expect some solid and intricate instrumental sections for the rest of the 10 minutes, it's surely worth it. Fading Senses is a nice acoustic guitar driven tune. The grand piano also has a great theme, and the bass line is very well written. The middle of the song is where the group finally all kicks in. Mike Holmes gives a very dynamic guitar solo here before a strong chord based riff is presented. Martin Orford then gets his chance to show his skill and gives a very spacey keyboard solo before a strong keyboard based ascending riff is played.

Out of Nowhere fades in with a strong 7/4 riff before a guitar based riff is played under Nichols vocal. This is one of the poppier tracks on the album, but none the less it is a strong song. Further Away is the second epic of the album, clocking in at around 14 minutes. A very keyboard based introduction is augmented with a fitting flute motif compliment of Martin Orford. Jowitt really shines during this introduction, giving a dynamic bass performance that couples well with the swells of Mike Holmes' guitar. Strong riffs in 6/4 that sounds reminiscent of one of the themes in Born Brilliant (or is it the other way around?). This is the opus of the album, with a spectacular closing instrumental section that really showcases the skills of Mike Holmes.

Leap of Faith features some creative Holmes riffing and a more Marillion circa Script For a Jester's Tear sound in terms of atmosphere. A strong 7/8 riff is played the 3:30 mark; man do IQ love the time signature 7/8. The reprisal of a riff from The Darkest Hour is played here; this riff I speak of is in 5/8. Came Down closes the album with a melodic Mike Holmes solo and some very epic lyrics from Nichols. In the end, themes from the rest of the album are presented and played very effectively, giving the album a fitting ending.

Overall, Ever was IQ's return to the status quo. They hit the mark again with this album and there's not much I can fault this album with, except that there really is no real invention in IQ's sound. But other than that, there is not a lot to dislike about this album. 4.5/5.

EVER, a 1993 entry from IQ, is my third acquisition from these quintessential neo-proggers, and provides me with yet more impetus to further explore the English band's catalogue: I've not been disappointed yet.

Yes, this is another very strong album from the group who are arguably the strongest act working today in "neo progressive," the sub-genre which hearkens back to the classic prog of the 70s. Given that EVER is a neo prog album, there is really no "new" musical ground being broken here, but that's not why we listen to IQ. No, we don't play IQ to explore strange new musical lands (leave that, perhaps, to bands such as the Mars Volta, Godspeed You Black Emperor, Deus Ex Machina, and others). Rather, one listens to IQ to re-visit the pomp and magic of early prog - albeit through a modern sonic and technological filter. For my money, no current band can evoke that vaunted bygone era better than IQ. If you're a fan of classic "symphonic" progressive rock, and are open to discovering some newer stuff in the same vein, you need to get into these guys!

Nor are IQ mere pale imitations (see Pendragon) of their honoured predecessors. Although their sound and inspiration clearly go back to acts like mid-seventies Genesis (as with Marillion, if there had been no Genesis, there'd likely have been no IQ - at least not in this form), IQ display enough originality and just plain strong songwriting skills to steer adequately clear of "rip-off" or "clone" territory. On this disc (as on others - see my reviews of THE WAKE and DARK MATTER), IQ push all of the right prog buttons, and at the right time. (Indeed, they show laudable restraint in not employing the entirety of their classic prog palate in every song. Unlike certain other popular neo acts, they know when to end a song - or album - and keep matters tight and focused.) There is prog rock power and polish to spare on EVER, in harmonious balance with generous amounts of real beauty, evocative lyrics that bear more than a cursory examination, and, as ever, top-notch musicianship and a deserving conviction in the material.

Each of the six pieces here represents prog listening time very well spent, so I'll forgo track by track analysis, but to say that the fourteen minute-plus "Further Away" is truly epic, awesome and varied just as longer prog pieces should be. The last two numbers, "Leap of Faith" and "Came Down" (which dovetail into a unitary whole) are also especially good - there is a grandeur here that hasn't been so convincingly heard since before Hackett left Genesis, or ELP alienated many of their fans with the tangential excesses of their WORKS albums.

From thunderous opening to majestic close, EVER is an album to play again and again. Symphonic and neo fans take heed: IQ is a band to listen to, and you just can't go wrong with EVER. Four stars: unless your prog listening sticks stubbornly to the 70s, you should have this delightful disc in your collection. Great stuff -- crank it up, close your eyes, and smile!

Back to good times and good music. After efforts that went either denigrating, either mellow, plus a some reasonable moments of complete silence and unproductive years (though this latter aspect isn't really something that will improve in the future, being thus a glitch of the latent period), IQ turn once more to a strong, compact concept, showing the power of interpretation and the strength of authentic performance in the plenitude of the meanings and of the result's appearances. Often wondered how Nicholls, after defining IQ's greatest moment, The Wake, made a quick, silent (and deadly) departure from the band (well the studio album wasn't the final point, yet the important reference as to talk about the separation). Perhaps questions not to be answered or to even matter much, thing is that the albums under the vocals and the accent of Menel weren't good, nor invigorating, neither a thing to last in the great memory of the band, of the music and so on. The late 80s were years of quite a depressive manner and not once, but three times placed the rhetorical question "how high can IQ go, stand or be acknowledged" on an active, threatening state. Well the ondulatory move into fragile accomplishments and easy looks comes to an end with an album in which class, quality and beauty of the character is once more on impressive scales. Surprising even, as things are better words can describe. In close touch with masterpieces of IQ (The Wake and Dark Matter) is this one, being integrally a splendid musical speech and a strong, lasting strike of imaginative processes.

It's a wonderful thing to see things back to normal (cause, in the end, that's what it's all about). References will stay at this notable level up until present time, so a great feeling to be experienced overall. Ever deserve credit for a comprehendible musical sweep and for a passion that's once more in its honorific place. And unquestionable is the fact that Nicholls is the essential key in IQ flavor. Of course, non-neglectable are the rest of artists (though how I'd expressed this right now can come as the opposite of what I mean to say). Yet comparisons bring up the evidence of mellow vs. unshattered.

A very good reference for this album is also the future Forever Live, on which four out of the six pieces of the repertoire are interpreted in the same dazzling manner (if not even more, given the specific pulse of a live act). Anyway, though it is rather normal, given the interest to promote the album (major feature at least), it is important to notice how Ever imposes, demands attention-and that not unjustified and gives, anytime, a moment of delight.

Music comes first, then the power of the quality and of the brand, which can't go better than an IQ specific stereotype, of open, dynamics, diverse and intriguing, of alternative emotions and of specific themes that are observed and are preserved. Some plastic styled moments or some lose of rhythms after a part of the album, but small glitches, undamaging in comparison with the good, good!, inspired mood and the musical arrangement into the spheres of multi-lateral scopes. Would mention as a possible problem some catchy takes, then again it's better to judge them as something well-known or easy to reflect upon with a full optimism then to denigrate towards an easy status that it certainly not the correct observation.

A short description of beautiful repertoire to compensate on an otherwise typical description. The Darkest Hour is a strong shot opener, settling immediately on the greatness that it is desire and expressing a keen moment of fragmented perception. Dense, exact on moves, eccentric on a free exteriorization, impressive as an elaborate construction, it resembles one of the fine moments and one of the worthy IQ references. A passion within it never stop rumbling. Fading Senses is a nice thing to observe, giving looks into the same profound essence, yet in a melancholic, relaxed style, putting less pressure and devoting the accent towards the melody's rupture. Out Of Nowhere is an ecstatic sense of motion, having parts that thrill the beat of the heart, moments of intense dark flavor or of bright artificial rises. Certainly a single-like adaptability within it, yet much more value than it beats the eye or it tends to reflect. Further Away is a center of the album by length and posture, still I would go in calling it a little unsuccessful. There's a great intense promovating asset in there, still something's missing. Leap Of Faith is another shock of delight and passionate interpretation, giving another go on a lasting fruitful composition, with emotional sensibilities. The last piece is a clear epilogue, with rather moderate significance. Interesting to notice that the four "classic" choices are indeed the best Ever offers.

Good album, one reaching just enough to be a reference towards the greatness of IQ and towards the memorable things that they can create. It's good to see them, in the first, being able to place music on the heights of their reputation. Recommended moment of listening, one that will show you perhaps no special sides, but the well-known power and the "ever"-burning flame of the script. Four very solid stars.

IQ's best album. I am not a neo-prog fan, but this album deserves some attention. Ever contains interesting and inspired moments and is probably the result of what would have happened if Pink Floyd had made a child to Dream Theater (or the opposite...).

The disc starts by stetting down a dark and magic atmosphere with The Darkest Hour. It goes on with catchy guitar riffs reminiscent of Rush. The melody is peaceful, alternating with mysterious and calm passages. Fading Senses contains two parts. The first one is quite enchanting and enjoyable, and the second part features an egyptian-like space metal riff ! Mindblowing ! Out of Nowhere has some Dream Theater's Images' accents and is a rather rocky tune. The 14 minutes epic Further Away features IQ on top form ! The introduction transports you in a feeric place, to let a darker and heavier atmosphere take place. An heavy metal fantasy piece ! Guitar and keyboards solos reveal knights and wizards. The final is pretty calm and spacey. However, the three last minutes are maybe unnecessary. The end of the disc is the weakest part. Leap of Faith contains interesting moments but sounds sometimes lazy and the last song Came Down is VERY cheesy.

Ever is IQ's most inspired effort and features ones of their great epic tracks. Recommended to discover IQ or to Dream Theater's and Pink Floyd's fans not into neo- progressive genre ! 3.5 stars !

Best IQ album Ever?

If I would have to mention my favourite IQ album 3 titles immediately come to mind: 1) Ever, 2) Subterranea and 3) Dark Matter. Of course with a double disc like Subterannea it is much harder to keep one's full attention during the entire album than on a 6 track album like Ever , Nevertheless, it's even quite difficult to create a single disc album consisting out of 6 wonderful songs. Ever manages to do this!

So to whom would I recommend this album? Well, actually to anyone who loves neo- progressive music from bands like ARENA, MARILLION, PENDRAGON & PALLAS. If you are new to IQ I would recommend Ever, Subterranea or Dark Matter , but also the excellent live DVD's "IQ20" & "Stage".

A wonderful album ForEver !

It has been four years already since IQ have released their last studio album. With this one, we"ll be back to the roots. On both sides.

First ; the old IQ sound is fortunately back ! Second : Peter Nicholls is again on the command of the lead vocals. Not that I disliked Paul Menel (I have already expressed my opinion about this in the appropriate reviews). So, I was really thrilled to discover this "old" new IQ album (do you follow me ?).

We are immediately brought back in the mood of their early work with the opening number : "The Darkest Hour". It holds all the items IQ fans love (which are equal to the ones that their distractors hate). This great song is with no doubt reminiscent of Genesis, but IQ has never denied this filiation. When you see them played live, Nicholls's tone of voice will automatically remind you with the other Peter's one. But I guess that I must be a privileged one for having seen Peter with Genesis on stage (back in April 1975) and be able to compare.

IQ is a band that I appreciate a lot. Live or in the studio. They bring me lots of emotion. Just listen to "Fading Senses" to hear what I'm talking about. This rather simple song is just beautiful. Peter sounding a bit sad and lonely, though. But so is he. And so I love him.

If you ever would like to be sure about IQ's influence, I guess that the intro of "Out Of Nowhere" will give you the answer. "Watcher Of The Skies" man ! Since they are doing it with such respect for the band we all praised on PA, I can not even be worried with the similarity. Just a wink. There will even be an almost similar riff as in "Now I'm Here" from Queen (you know, the rock band) further on in this song. The finale though is again fully "Watcher" inspired.

The second long song " Further Away" won't hold the untold promises of its lenght. Just another good IQ song, but no real and splendid epic. One could have hoped something more grandiose from IQ. It will hold its portion of emotion and Mike will display a very nice guitar break just ahead the finale which is fully Genesis oriented again. But it is a bit too short for an almost fifteen minutes song.

One of my preferred song on this album is "Leap Of Faith". Very nice keys for this gentle song. Simple and effective. Mike will be great again during his finale solo. It will nicely flow into "Came Down" which will beautifully close the album. But the mood is a bit too much on the sad side and Genesis is too much present.

I fully adhere to the fact that this enormous band (from 1970 till 1978) has been a major source of inspiration for a lot of bands, but still I would expect some more personality, even from IQ which I like very much.

This album is of course much better than the two previous studio ones from the Menel days. Again, I' m not sure that this line-up would have generated better stuff in those difficult days (end of eighties) .

I'm just happy to listen to some good IQ music again but I can hardly go beyond three stars in my rating.

I don't think there is any doubt that the band came into the recording studio (to make this album) with a renewed passion and emotion.After all he was back wasn't he? The "he" being Peter Nicholls,who last sang for IQ on "The Wake" album some 8 years previous.They also had a new bass player for this one in John Jowitt,so you know there was a renewed energy,and the creative juices were flowing. "The Darkest Hour" opens in such an outstanding way with keys,guitars and drums.They are back! Then we get to hear the vocals of Peter Nicholls,as he joins in.And i'm sure the faithful IQ fans (who hoped for this reunion of the band with Peter for some 8 long years) had a lump in their throats at this point.The waves of synths are great before the 6 minute mark,and the soaring guitar 8 mintes in from Holmes doesn't disappoint.Orford closes this song out with lots of piano melodies."Fading Senses" is a mellow reflective song that is dominated by keys and vocals,that is until the change in mood 3 minutes in.When pounding drums and heavy guitar take over, as synths come and go."Out of Nowhere" opens with the birds singing as drums and mellotron come in.We are treated to a good rhythm as bass,drums and guitar provide support to Peter's wonderful vocals.This is a catchy tune with some fantastic mellotron after 3 minutes as well as later."Further Away" opens with light keys and mellotron as vocals come in.This is a slow moving mellow tune until the drums signal a change 3 minutes in.The band sort of lets it rip!They just rock out,it's great!They do settle back to original melody before returning back to the uptempo soundscape."Leap of Faith" opens with reserved vocals and light keys,the sound is heavenly 2 minutes in.Eventually the keys and guitar trade solos.This song blends right into "Came Down".It features these slowly pounding drums as a tasteful guitar melody is played.Vocals and synths arrive to add more beauty to the pastoral ending of this record. I'm not surprised to hear how many people rate this IQ album as their favourite.It is rather reserved,tasteful and beautiful.A triumphant comeback record for this great band.

IQ's Ever marks the return of vocalist, Peter Nicholls and a more solid sound. After a few weak albums, IQ seems to have found their sound with this one. The Genesis and 70s progressive rock influence is more clear again and with Peter's voice back in the mix it seems IQ may have made one of the strongest neo-prog albums of the 90s.

This is a very strong album by perhaps the most notable act in the neo-prog scene today. This album echoes back to the glory days of Fish-era Marillion and Gabriel-era Genesis. There's not really anything highly innovative going on here, but don't get me wrong it's still a good album. I'm very glad to see the return of Nicholls on this album, because in my opinion he is one of the essential ingredients to IQ's sound. He is one of the things that separates IQ from the loads of other Genesis and Marillion imitators. He has an operatic voice like that of Fish and Gabriel, but it also has a unique "twang" that makes it not just another neo-prog group, but IQ.

However, I find that the great and unique sound of his voice is also one of the things that makes IQ weak at times. When I listen to their music I often find that a great deal of emphasis is placed on the vocals and lyrics. You might be thinking "so what, don't a lot of musicians do that?" but the problem is the music is somewhat sacrificed for vocals. Don't get me wrong there are still a good amount of catchy themes and guitar work, it's just I find the more interesting stuff goes on when Nicholls isn't singing. This isn't always the case though, which is most proved on Ever. Almost 100% emphasis is placed on the musical quality.

The opener, "The Darkest Hour" is a great example of the overall sound produced by IQ. Starting out with a great 7/8 bass groove and keyboards harmonies, the track proves the band can be witty and dynamic while keeping a sense of emotion and good songwriting. It's unconventional, elaborate and cohesive, representing all of the aspects of IQ's prolific career.

Production is excellent. The omnipresent keyboards and guitar with loads of delay offers a very clear 80s sound. Everything has a very live feel to it, like it's echoing throughout a stadium. The listener can feel the piano and clean guitar tones reverberating off the walls like they are in the midst of the greatest concert of their life. It is all very lush and very clear.

They touch upon a various number of feeling and emotions as the album progresses from one song to another. Ranging from the jittery excitement of "Darkest Hour" to almost a sense of impending doom on "Fading Senses", this album is a trip for the listener. This is accentuated by the use of eccentric keyboard solos and pulsating bass grooves. These accomplished musicians give everything they have, which is one of the reasons I appreciate their style so much.

Musical skill is not the top priority with this group, however. As good as the keyboard and bass player are (who I am most impressed by) they don't sacrifice sound for musicianship. The guitarist often shows his true lights through the winding guitar solos and crescendos. Unfortunately, I don't find that the drummer offers much to the dynamics here. Not many polyrhythms or syncopation here ladies and gentleman.

Out of all the positive points I have mentioned in my review, there are a couple things that drag this album down significantly. At times the music can seem to be going nowhere as if the band doesn't have an idea of what to write next. Instead of cutting out the tedious parts they tend to leave them in, which drags the music on for longer than it should. An example of this would be the 14-minute "Leap of Faith". While it has some great themes and memorable moments, it just does not need to last 14 minutes. If condensed by a few minutes it may stand as a better, shorter song. The band can often be tedious, which is why this is a better album than the 100-minute Subterranea. The music often seems very dependent on the soaring keyboards as well. The guitar riffs are always low in the mix and offer more as filler than a vital contribution to the sound. As I said before as well, the drums only keep a constant backbeat and don't use much variation. This can tend to be boring for a non-progger.

IQ is one of the more "classic" sounding modern progressive acts, and one of the best of them, but they still haven't put out a true masterpiece album. Ever has tight compositional songwriting and some good themes, but it simply does not have the inspiration and memorable hooks to achieve masterpiece status. For those new to prog, this album will be a grower, getting better and better with each listen. However, for people used to the prog formula this album will seem to rehash the old cliches of the great 70s acts and may grow old with extended listening. Therefore, being not quite a classic but still topping most 90s prog I give this album an 8/10. Very good release, but nonessential.

My rating: 8/10

As a true neo-progger I'm having a hard time reviewing IQ-albums. IQ is one of the most important neo prog bands in history but still I can't find my way to really liking them. I don't know if it's the mellow voice of Peter Nicholls that causes the problem or the fact that their music simply doesn't have the energy that's required to suit my taste. Probably it's a combination of those two that is the reason I will never be a real IQ-fan.

Still I bought a number of albums by this band, because well, you can never be sure about your opinion and this bands gets a lot of credits so they have to come from somewhere. Maybe I'm misjudging them, another reason is that Subterranea was one of my first purchases and I did like that one, so that also makes you think: you never know, there might be another jewel in their discography.

How about Ever ? Well, to begin with: this album contains the best IQ-song ever to me, Further away (maybe along with Narrow Margin). This is a great song, very good composition, nice instrumental passages and quite energetic for IQ standard. And there are three more songs on this release I'm quite fond of: Darkest Hour, Fading senses and especially Leap of faith which was a pleasant surprise to me last time I checked out the disk.

So all in all this wasn't so bad, I really do believe IQ has too much class to deserve 1 or 2 stars (except for The Wake which was really poor to me). Still I can't imagine me giving any album by this band 5 stars. They are just not really my cup of tea. Still 4 stars for this (3.5).

Being arguably the most solid band to emerge from the modern wave of 80s British prog rock, IQ has released some real masterpieces that honor both their career and the prog genre in general (inc. neo, of course). One of those master opuses has to be "Ever", the 1993 release that marked the return of vocalist Peter Nicholls, the presentation of newcomer bass player John Jowitt and the starting point for the second (and best) musical era for the band. Everything that had been missed since the "Wake" days is here: melodically ambitious compositions, true symphonic arrangements, lyrics as evocative as they are mysterious. Nicholls' singing has varied, since the punk-friendly edge is gone in favor of a more subtle nuance, which in turn makes his voice exploit its melancholic potential more thoroughly. And this is where the new things begin to make themselves noticed: a more introspective vibe in the compositions, an enhanced poetry in Nicholls' lyrics, a more balanced sound production, a more focused dynamics in the rhythm section. In many ways, "Ever" encapsulates the sort of mood and sound that the first Nicholls-era albums were headlong for but didn't manage to accomplish. The album's mood clearly signals a new melodic predominance, as it became to be confirmed in the "Subterranea" and "Seventh House" albums, but there is also a particular reason for the overall melancholy of "Ever": relatives and friends were gone from this world during the writing and recording of the band's material, so that had to inspire the dominant atmosphere of meditation and reflectivity in a very strong way. The opening epic 'The Darkest Hour' kicks off with a powerful instrumental prologue that sounds like the prog dream unfulfilled in the Menel days: something like Rush meets Genesis with a touch of Camel, which wouldn't have been out of place beside 'Wurensh' (from "Are You Sitting Comfortably?") or 'Human Nature' (from "Nomzamo"). Once Nicholls settles in, the whole band is driven back to the "Wake" days with the refurbished scheme that I've described earlier. The sung epilogue states a beautifully emotional moment of serene sadness, properly driven by the piano lines. 'Fading Senses' coherently succeeds 'The Darkest Hour' concerning the aforesaid prologue: its sung section is kind of bucolic, reinforcing the momentum's tranquil sadness; the instrumental second section is eerie, almost dreamy, exploiting the main motif's simplicity very craftily. 'Out of Nowhere', with its up tempo pace and hooks, explores the pop-related facet of neo-prog with undisputed tightness. It bears enough room to provide some of Holmes' lighter side and Orford's AOR ghosts. Speaking of ghosts, here comes 'Further Away', the "Wuthering Heights"-inspired epic that incarnates the album's most bombastic moments. All the way through the melodies and arranged sequences we hear the succession of sadness, anger, despair and hope that signal the two main characters' love story. Holmes' final lead is just awesome, the ensemble's deliveries are solidly driven through the recurring 6/8 and 9/8 signatures, and Nicholls states one of his finest performances in the album. After this highlight comes another, 'Leap of Faith', a beautiful song that starts as a piano-led mid tempo and eventually turns into a typical prog parade of well-crafted guitar/key solos and fluidly shifting signatures. The segued closing ballad 'Came Down' pertinently culminates the overall mood displayed in the album. Despite being a slow song and not bearing overwhelming keyboard orchestrations, it feels really powerful. IQ for "Ever"!

With this release, IQ added a lot of flavor into the neo-prog genre.

In a category of music often cited as being fairly stale and not very involved, IQ stands as one of the most innovative and creative forces. Not content just to rehash sounds first heard from the symphonic acts of the 70s, IQ dances forward with some modern sounds and a good bit more appropriate aggression. I think the divining factor here that makes IQ and especially Ever is the level of energy the band puts into their music. A lot of neo-prog bands write long songs with progressive elements, but they power these songs with melodic melancholy more often than not. While IQ's music is not necessarily happy or even not melancholic, somehow they pump their music full of some sort of interest and energy. One factor in this is the voice of the band, Peter Nicholls. His charismatic and unique voice adds a level of excellence to this band that is missing from most of their peers. Also, the rest of the band plays on a high wire, balancing fast but melodic guitar lines with excellent drum and bass rhythm work.

Each of the songs here has its own identity and its own strengths. The opener The Darkest Hour is a more standard IQ tune, setting the benchmark for what their average song should sound like. Fading Senses and Out of Nowhere are both high energy bits with some great keyboard patches and a lot of bottom (also an element often missing from neo-prog). The album epic, Further Away, is probably the least interesting track to me, but even still it is a splendid tune to listen to. Leap of Faith features a wonderful instrumental conclusion with wild bass and some absolutely lovely keyboard work. The final track, Came Down, flows from Leap of Faith very nicely, and wraps up the album in a very gentle and beautiful way. The tracks all stand on their own, true, but the album works very nicely as a whole.

If you aren't very familiar with the neo-prog genre, this is an ideal place to begin. This is probably the height of the genre, right here.