IQ - The Seventh House

In 1997 IQ released "Subterranea". It was a double album, a concept album. It won just about every prog rock award there is, and was hailed as one of the most important progressive rock releases ever. "Subterranea" didn't have a bad track on it, and most were stunning. It probably made the band the foremost British prog rock band. How on earth do you follow that. They took "Subterranea" on the road and produced the best stage performance in years. Art rock was reborn. They released the obligatory live album, and a video. But then they had to do another studio album, and "The Seventh House" is the result. Considering that most bands never produce one album as perfect as "Subterranea", it was difficult to imagine they could do it twice in a row. And they haven't. However, "The Seventh House" is, in my opinion, the second best album they have ever made. I know some fans don't like a lot of it, but to me it is exactly the sort of music I like to listen to. I haven't stopped playing it since I got a copy from GEP!

"The Wrong Side of Weird" is the 12 minute opening track. What a phenomenal piece of music. It starts with bass pedals and a wonderful recurring descending synth line, which leads into the main theme which is classic IQ. Fast, odd time signature, great melody and brilliant bass lines. I'm immediately impressed by the production, the drums sound fantastic, and get a load of the playing! Listen for the drum break 1 minute and 44 seconds into the song. Immense!  There are plenty of dynamics and changing rhythms until the middle section where we a treated to a Martin Orford keyboard orchestration of piano and strings with Peter's cracking vocals. That ends with a return to an earlier riff but much, much heavier. This leads into the classic IQ powerful finale, with lots of superb playing from all of the band, especially John Jowitt and Peter Nicholls. Cunningly, the song returns to the main theme and a calmer end. What a magnificent track. This is IQ at their best, and sounding a tad heavier than ever!

Track two is called "Erosion" and at just under six minutes is the shortest on the album. It starts with swirling atmospheric keyboards and great emotional vocals. Then the guitar chugs into the picture and you just know what is coming! Big in-your-face instrumental breaks interspersed with quieter vocal passages. A simple song that works brilliantly.

The title track is up next and is the longest on the album. It starts with an acoustic guitar and vocal section but builds in classic style into a constantly changing complex musical feast. It has so many twists and turns its silly to try and describe them all. Just sit back and try to take in how good this band is. There are some wonderful individual performances on show, the bass lines again stand out. Bits of it sound like King Crimson, Rush, even Ocean Colour Scene. "Gates of Delirium" springs to mind in the complexity stakes, but always it can only be IQ. Thinking about it, it has the same "feel" and structure as Genesis' "Supper's Ready", particularly from the keyboard solo onwards which remind me of, but are not like, the "Apocalypse in 9/8, New Jerusalem" sections, including the fade out. A classic track.

The next two tracks are a couple of fillers if you ask me. They don't compare to the others. "Zero Hour" starts off OK but the saxophone sounds a bit naff, and the closing guitar solo, though good, goes on for far too long.

"Shooting Angels" starts OK too. Gentle electric guitar over layered keyboards but it turns into an 80's AOR/pop song with a heavy guitar riff. Very "Bon Jovi" if you know what I mean and not very impressive. It's just too straightforward and doesn't have the support of good lyrics 'cos they are poor too. The chorus is the best bit, but it is wasted in this track as more dodgy saxophone over heavy guitar destroys the fleeting memories of the good bits. At least the album ends on a high!

The final track is "Guiding Light" and it is an absolute stormer! A simple piano/vocal opening introduces a veritable showcase of musicianship. This is classic progressive rock and shows why those of us who like it should be grateful that IQ still produce music like this. Again I am reminded of Rush like synchronized bass and guitar riffs, but this time there is more than a hint of "Script" era Marillion during the superb keyboard/guitar solo. The track ends with a reprise of the opening, a gentle reminder to contrast with the last few minutes. Perfect.

What can you say. They've done it again. This is definitely IQ at their heaviest. The complexity of the music takes a few listenings to really get into but once it does it grabs you like no other album they've done. John Jowitt's bass playing is brilliant throughout, and I think this is Paul Cook's best album. His drumming and drum sounds are superb. Martin Orford takes more of a back seat than usual, and it is up to Mike Holmes' great guitar riffs and rhythms to drive this album along. Peter's vocals are wonderfully obscure, as usual. "Subterranea" remains the best thing they have done, it is definitely more consistent than "The Seventh House", as is "Ever". The middle couple of tracks mentioned above see to that. But I like this album a lot. Sure it is heavier than IQ usually are, less of the emotional/atmospheric pieces that define what IQ are all about. However, if you like your music fast and complex, then look no further than this. My favourite album since "The Ladder" by Yes, but this is much better than that!
 

(Copyright David Hopton -  3 January 2001)

All Artwork Copyright Tony Lythgoe, IQ and GEP Records 2000