“Listen to them, children of the night, what music they make!” Bela Lugosi invites us off to where ghosts reside and vampires welcome you to feast upon blood, as Neil Durant, the new man on keyboards, sets the mood for a dark trip in From The Outside In. That is when someone must have said “Get set, go!” because all at once the whole of IQ kick in, thundering, roaring like a horde of vampires, out for blood. These vampires, at least the singing one of them, is not happy at all as he overthinks life and times as a vampire, well, life? “I’m waking up, I’m better dead.” From second one, Messrs. Cook, Durant, Esau, Holmes and Nicholls grab your attention with haunting music as dark, brooding and heavy, mind you, as IQ ever was.

In the second track of their latest release, the title track, IQ paint us a musical thriller as they portray the grim thoughts of a serial killer, closely resembling the feel of those dark Scandinavian thrillers like The Bridge or Those Who Kill as of late have been televised. Mike Holmes has watched a lot of movies recently and the effect of watching them gets translated into the music and, as we clearly find out, most certainly during the title track, these movies were not of theLove Actually kind. Dark, darker, darkest. That is what we get in the first two pieces.

Rich in keyboard sounds, these songs. Neil Durant, formerly of Sphere3, already joined IQ during the 30th anniversary live gigs and now proves to be quite the asset in writing and defining today’s IQ sound. Quite a daring task to step into his predecessor’s shoes, but he does so magnificently. Rich in textures, adding just the flavours the songs need, he paints a great backdrop where Mike Holmes and the rhythm section only need add their ingredients. Wait for it, there is always Peter Nicholls’ voice. It appears, there are those who either love, or either hate Peter’s voice. For the haters, I bid you not to read on, as Peter does as great job in the latest of IQ releases and mind you, he ages well. For the lovers of his voice, expect his voice in fine form and again, adding those typical, dark lyrics for which we have come to know and love his writing ever sinceTales Of The Lush Attic.

The first two songs give an initial impression of IQ in 2014. Must we buckle up and expect the unexpected? Or, are we sitting comfortably as ever? IQ remain true to the sound they have built for the last 30+ years. Still, that doesn’t mean we get lulled into a “Been there, done that” mode. No, sir. Let’s compare it to Lord of the Rings. You know you are getting your fair share of hobbits, orks and what have you, yet still the movies have their fair share of those who love them and who will always want to be on the look out for more. I’m not saying IQ have now changed their game to play for the masses, not at all. But you know what’s inside when there’s IQ on the tin. And when that mark is on the outside, you know you get your fair share of progressive rock, IQ style.

It is great to hear how IQ manage to bring their sound to 2014. The richness in textures by Neil Durant, the ever rocking Mike Holmes, Tim Esau’s thundering bass, Paul Cook adding quite the right punches and Peter’s unmatched voice all up to today’s standards while also, also very much, even though it may very well be unintendedly so, connecting with the past. There’s a xylophone part in the title song that reminds us of Nomzamo’s title track, yet Mike Holmes has pointed out that that was very much unintended.

Yet there is more than two songs on the new album. We get five songs on the single album and six on the bonus disc as well. That is, if you buy the special edition. The story behind that is that IQ had written enough strong material for the album yet had written songs as well that might not fit completely into the album’s flow but still was strong enough for a release. So the band decided to release those tracks as a bonus disc and, decidingly, not release a double album as such. The songs on the album being as cohesive as they are, where the bonus disc does not quite fit into the same feel and flow.

But the songs, the songs… There is a typical IQ epic in Without Walls that begins with a bit of an 80’s Genesis or even Phil Collins solo feel. That lasts for just about three minutes when the music initially gets slowed down and we then welcome the full on IQ heavy approach. Mike Holmes shines in a short solo and does great riffing throughout the song as if he were to audition for Tony Iommi’s place in Black Sabbath. Still, the IQ riffs are there to set the background along with the keyboards. And here, in Without Walls, IQ prove they are still masters of the game. Get yourself aboard that rollercoasterride and enjoy it from start to finish. Yes, there is a part that reminds us of Falling Apart at the Seams (again Nomzamo) yet there is much more tot his and bes ure, this not just a copy and paste track at all. Take the time and enjoy it, again.

Ocean follows the maelstrom that is Without Walls and it marks a nice resting point on the album. Nicely sung by Peter and giving a very peaceful, easy feeling. Even though the subject is not quite that easy. Some might discard the song for being unimpressive. I think it is there in quite the right spot. Until the End, again an IQ song you just to need to listen to. And, is that a mandoline or banjo? Or are they both even featured in one track? Try and find out for yourself.

As for the bonus disc, it is just that these songs don’t fit in with what are the album tracks. There is no way in saying that these songs are not great in themselves. They are. Knucklehead might be the most experimental song the band from Southampton have ever recorded, if not, it is truly IQ at its heaviest. Does that sound strange then? Well, no, think Threshold in a way (forget the double guitar parts) and you get the drift somewhat. It’s certainly not a song that mellows you down. 1312 Overture takes its beginning from old man Tchaikovsky’s 1812 Overture and then dives into less unfamiliar YYZ-vibe yet is the time signature of the song that gives it its title, not the Rush reference.

Constellations, particularly the intro, again harkens back to an 80’s Genesis feel, yet it turns out to be quite an illustration of what IQ sound like in 2014. Wrapping this review up, consider the remainder of the bonus disc to be of the same standard as you have found the former tracks to be. This is 2014 and IQ have just released their tenth (eleventh, if you also take into account Seven Stories Into Eight) album. There are two editions. One with just the single disc, one with a bonus disc that adds more IQ. Oh, yes, there was also a 3 disc version for those buying this very special edition with a ticket in it for the release show, a t-shirt and what have you. Whatever version you decide to listen to or buy, IQ have returned in great form and for all I know, this is an album I will return to very frequently. I reckon this one to be among the IQ classics. Whereas some might consider 5 stars to be too flattering, this album in all its diversity certainly holds its own way beyond the 4 stars mark.