FREQUENCY

Hi - this is my first review and it is interesting after all these years I do it for an IQ album. I came to this band very late and couldn't believe they slipped by me since I first became interested in Prog after seeing the Relayer tour with Moraz in the Jersey City Stadium in the mid 70s.

After trying to love Dark Matter, I feel that this is the better effort of IQ. The first track (Frequency) almost makes the rest of the album struggle to keep up it is just so freakin good. I was greatly impressed by the heavier sound and love the immediate opening salute to Mellotron, syncopated bass and drums, and Mike Holme's seemingly improved guitar work. There are some moments for enjoyment here if you accept IQ for what they are - a more thoughtful prog act that relies on lyrical content that I find haunting, compelling, thoughtful, and strong.

Peter Nicholls' voice is beautifully recorded and passionate. The album's production values are impeccable with gut-wrenching bass, crystal electric pianos, guitars that are soaring, driving, synthetic-legato (Life Support), with touching acoustic work throughout the disc. there is an intelligence in phrasing and structure that is amiss in some similar acts. There are beautiful lightning Arp and Moog-sounding licks (Province of the King) with many newer sounds by keyboardist Westworth who is 100% competent in this role filling the shoes of Orford. (Orford has stated his is not a great synth player, and Westworth steps up there a bit I feel). HIs Hammond roles (such as on Province) are also enjoyable and classic prog, but I might miss Orford slightly in that area. Westbrook's piano playing and string phrasing are very competent and I want to give his band (Darwin's Radio) a quick whirl. Prog is a black hole that keeps you linking to new stuff for sure!

Mike Holmes is the founding member of this band and I am starting to appreciate him more and more. I finally hear his continuity and simple beauty throughout their music. I have always enjoyed the intelligent drumming of Cook, and Andy Edwards (Robert Plant Band?) is also inventive and keeps your ear interested with nicely styled changes and perhaps a technical edge over Cook.

If you are a bass fan, what is not to like about John Jowitt. Here is a guy whose bottom lines are at times percussive and then slip into beautiful walking side trails that bind the sound into the special IQ feel.

All in all, I like the risk-taking here. I can see older fans feeling a bit of filler in this one, possibly in Stronger Than Friction and the Collin-esque Closer. But if you listen to this with an open mind, relax, and enjoy the thought that has gone into many areas of this disc, I think you will be happy with the effort and emotion that is displayed here.

Peace.