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27 years after their debut album UK veterans IQ show that they are still a band with the capabilities to create solid albums. This 2009 release is quite listenable, and the influences that have served IQ well in the past (including Yes, Pink Floyd, and pre-1980s Genesis) continue to serve them well on Frequency. This is, for the most part, a very moody album, but it is also very accessible - and appealing tracks such as "One Fatal Mistake," "Closer," "Stronger Than Friction," and "Life Support" are easy to absorb even if one isn't a seasoned prog rock listener. It should be noted that IQ have had their share of personnel changes along the way; on Frequency, their 2009 lineup consists of Peter Nicholls on lead vocals, Michael Holmes on guitar, John Jowitt on bass, Mark Westworth on keyboards, and Andy Edwards on drums.

The Seventh House came out almost four years after IQ's previous studio album, Subterranea. In light of this CD, it appears that the critically acclaimed 1997 concept album was the band's creative peak, which does not mean The Seventh House is weak. The general feeling of the album makes it closer to 1993's Ever. Peter Nicholls' theatrical voice gains in beauty with age. The playing is unsurprisingly tight, the musical approach firmly anchored in melodic progressive rock. Highlights include "Guiding Light," "The Wrong Side of Weird," and the title track, the latter a complex and exhilarating number. On the other hand, "Erosion" and "Zero Hour" feel like they miss a dimension, even if the acoustic guitar on the latter brings in a different texture…

When Cindy Castillo and Frédéric d'Ursel told me about their project involving the six Sonatas for violin and keyboard by J.-S. Bach and invited me to write pieces for violin and organ to frame two of them, I immediately and intensely felt the challenge. The juxtaposition of styles that would inevitably result implied an equation that was not easy to solve: the music to be created had to be in connection, in dialogue with that of this "Master" - one of the most famous in the entire History of Western Music! In any case, it seemed to me that the project had to aim at a proposal for an overall form whose elements would be brought together in a coherent architecture that would be perceptible to the listener.

Subterranea: The Concert is exactly what the title says: a complete live rendition of IQ's masterpiece Subterranea. The track list is exactly the same as the studio album (there is not even an extra encore). Following Subterranea's release in September 1997, one question immediately arose: It's a fantastic album, but can the guys pull it off live? This document proves without a doubt they did. Actually, IQ performed the work a few times in 1998 and 1999, turning it into a full-fledged stage production with light show, projections, and an actor, getting very close to Genesis' historical production of The Lamb Lies Down on Broadway in 1974-1975 (minus the outrageous costumes).

Even IQ's most dedicated fans don't expect the group to top its third-period crowning achievement, Subterranea, but does Dark Matter ever get close! This album makes The Seventh House (IQ's previous album, released three years earlier) appear very, very average. The melodies are catchier and more moving, the writing stronger, the arrangements more varied. The album's strength mostly resides in the 24-minute closing epic, "Harvest of Souls," surely IQ's best epic song, arguably their best song, period. After the oblique meanders of the cluttered "The Narrow Margin" (from Subterranea, that album's weaker point), "Harvest of Souls" offers a much clearer structure, a generous number of memorable themes, and a dark political subtext referring to American politics post-9/11.

Nomzamo is the third studio album by British progressive rock band IQ, released in 1987. The album was the first IQ album recorded without lead singer Peter Nicholls, who left the band in 1986 to return in 1990. This reissue includes 3 bonus tracks.

Even IQ's most dedicated fans don't expect the group to top its third-period crowning achievement, Subterranea, but does Dark Matter ever get close! This album makes The Seventh House (IQ's previous album, released three years earlier) appear very, very average. The melodies are catchier and more moving, the writing stronger, the arrangements more varied. The album's strength mostly resides in the 24-minute closing epic, "Harvest of Souls," surely IQ's best epic song, arguably their best song, period. After the oblique meanders of the cluttered "The Narrow Margin" (from Subterranea, that album's weaker point), "Harvest of Souls" offers a much clearer structure, a generous number of memorable themes, and a dark political subtext referring to American politics post-9/11.

Even though Tales From the Lush Attic was IQ's first LP, the band had self-released a cassette in October 1982 entitled Seven Stories Into Eight. Recorded on a domestic four-track machine, this collection of songs shows the band in its formative months, as members were trying to agree on the musical direction they wanted to follow. The cassette was sold at shows and via mail order until 1984, when it was deleted. Each copy was packaged with handmade artwork by singer Peter Nicholls. The album opens with "Capital Letters (In Surgical Spirit Land)," an atypical high-octane fusion number à la Brand X or National Health.