THE SEVENTH HOUSE

Neo progressive rock might be the perfect antidote to those who have never gotten over the expressive warmth of early Genesis and related bands from the 1970s, as well as a worthwhile diversion for the younger prog fans who like modern production, an emphasis on intricate melodies, and an occasional metallic edge. The British representatives of the genre, IQ being among the foremost, would be in the best position to fulfill the needs of these disparate audiences while satisfying their own creative urges, since most of their influences were fellow Brits. I myself am on a mission to discover the best British neo prog, and either I haven't found it yet, or I have and the quest wasn't worth it.

IQ's Seventh House is a crisp sounding collection of overly verbose artificially elongated songs with little genuine emotion lyrically or otherwise and even fewer memorable melodies. Sequences range from quasi-metallic to near-acoustic reveries, rarely well transitioned, some hit, some miss, but in the end I am just vaguely aware that it sounds ok, while acutely aware that inspiration and inventiveness are chiefly what is lacking. None of the songs are bad, but none really deserve to be as long as they are. For instance, the title cut has some exquisite parts and phrasings, but should have been condensed from 14 minutes. The lyrics also tend to be obtuse, overly important and precious. The exception to all these flaws is the dreamily beautiful "Zero Hour", which successfully fills out its allocated slot with a nostalgic theme and some fine vocals and guitar, and it achieves this without a page-spanning lyric sheet.

For those who demand more than just technical competence and shining arrangements and production, IQ's Seventh House will definitely not be confused with Seventh Heaven.