Classic Album Anniversary: IQ - The Wake (1985)

"And it's such a lonely ride to tomorrow
Through the corners where the light never shows
When it seems impossible to imagine
How the world could be so cold to itself"

Time for a neo-prog classic from the 1980s: The Wake is the second album by the British band IQ. I couldn't find the exact release date for the record, but Wikipedia says it entered the UK album chart at #72 on June 22, 1985, so this day is fitting for this post.

Like their peers Marillion, IQ were compared to Genesis in the early days, probably due to vocalist Peter Nicholls' nasal delivery and theatrical stage presence, which were undoubtedly influenced by Peter Gabriel. However, IQ's music also had contemporary influences, so they weren't merely a pastische 70s prog band.

"Outer Limits" kicks off the album with a hypnotic bassline and eerie keyboards before the whole band joins in, but even after that it's keyboardist Martin Orford's diverse use of organ, harpsichord and synths, as well as Tim Esau's basswork and use of bass pedals that makes this song remarkable. "Outer Limits" sets a rather dark mood for the whole record, which is a concept album about death.

The progressive elements are also present in "The Magic Roundabout", which starts off fast-paced before settling on a slow and steady tempo. Mike Holmes plays an impressive guitar solo at the end, but despite that the song isn't especially remarkable compared to the rest of the album. "Widow's Peak" is the record's peak (pun intended), opening with gorgeous clean guitars and flutes. After that the song goes through various time signature and mood changes, from slow to fast, mellow to restless and major to minor, without sounding incoherent, and the song ends where it began. Holmes uses the delay effect to great effect (as you may have figured out by now, I love puns) in the middle section. "Headlong" reprises "Outer Limits" and closes the album on a high note, although the melancholy beginning might lead you to think otherwise.

The remaining songs exhibit IQ's more accessible side. The title-track is a hard-hitting rock song with intense vocals by Nicholls and impressive drumming by Paul Cook. "Corners" is a rather exotic tune with sitar and programmed percussion, while "The Thousand Days" is a melodic sing-along driven by Holmes' clean guitars.

The Wake did relatively well for a prog album in the 80s, selling 10,000 copies in the UK, but the "Corners" single failed to make an impact on the radio, and frontman Nicholls left the band due to communication problems later in 1985. IQ had built a solid following, but they couldn't reach the status Marillion had, probably because they weren't backed by a major label. However, after a couple of more commercial albums with another singer IQ were rejoined by Nicholls, and they continue to record new music and play live to their small yet faithful fanbase.

The Wake may not have been a groundbreaking album, but it's a hidden gem that's stood the test of time and possibly IQ's greatest achievement after all these years.

Rating: 4/5

(Unfortunately the album isn't on Spotify and there are no tracks from it on IQ's official YouTube channel, so I'll leave it up to you to look for the songs online.)

Classic Album Anniversary: Marillion - Misplaced Childhood (1985)

"Two hundred francs for sanctuary and she led me by the hand
To a room of dancing shadows where all the heartache disappears
And from glowing tongues of candles I heard her whisper in my ear
"'J'entend ton coeur"
I can hear your heart"

 I'll start this review with a funny story: I got into Marillion last fall, and after listening to Misplaced Childhood and enjoying it I ordered the album earlier this year from a webstore that shall not be named. One day a package arrived at my apartment, and you can only imagine my confusion and disappointment when I opened it to find a copy of a CD including hymns in Norwegian. Luckily I got the Marillion CD after an email exchange with the customer service, and now I can look back on the incident with amusement.

Misplaced Childhood is another legendary concept album from the 1980s, but compared to Operation: Mindcrime, this album's plot is much more abstract, which may have something to do with the fact that frontman Fish got the inspiration for the concept during an acid trip. Some of the themes dealt with in the lyrics include the loss of innocence and love, but there is also a happy ending.

The synth-driven atmospheric intro track "Pseudo Silk Kimono" leads into Marillion's biggest hit, "Kayleigh", whose success was so massive that it inspired countless parents in the UK to name their girl babies after the song in the 80s. Luckily I've never heard this song on the radio here in Finland, so I haven't had a chance to get tired of it - Steve Rothery's chorus-laden riff and melodic guitar solo are awesome, and the chorus is catchy. "Lavender" is another hit, and it's a short but sweet piano ballad - this must be the only song I know that was extended instead of being edited when it was released as a single! My favorite song on the album is the multipart epic "Bitter Suite" - I'm not sure whether my love for puns has something to do with that. This song shifts seamlessly from one feel to another and showcases Fish's talents as a lyricist: the way he paints pictures with words is stunning. "Heart of Lothian" provides a great ending for the first half of the album with its progginess.

Unfortunately Side B doesn't match the greatness of the first five songs. "Waterhole (Expresso Bongo)" is an uptempo track that ends before it's properly begun, and the transition to "Lords of the Backstage" is rather awkward, as acknowledged by keyboardist Mark Kelly in the reissue's liner notes. The 9½-minute "Blind Curve" brings the album back on track after the two interludes with its sad tone and beautiful clean guitars. "Childhood's End?" is a poppy piece that would've served as a good closer, but it's followed by "White Feather", which was the last track written for the album and fails to add anything to it in my opinion.

The musicianship on Misplaced Childhood is great, as is always the case with Marillion. The production is typically 80s with a big drum sound and lush synths, but that doesn't detract from the quality of the music. Kelly's keyboards are all over the album and Rothery plays brilliant solos. Fish's unique vocal style and colorful lyrics may not be for everyone and he goes over the top sometimes (both vocally and lyrically), but he has a lot of personality.

Personally I think Marillion have made a lot of better albums than Misplaced Childhood, but the fact that it managed to be so successful at a time when progressive rock was a curse word in the mainstream is very impressive. The legacy of the album also lives on, as Fish is performing the album live this year in its entirety. Misplaced Childhood isn't without its flaws in my eyes, but I can see why so many fans consider it a masterpiece.

Rating: 3.5/5