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IQ: Live On The Road Of Bones

The Road, well travelled...

This is the latest in IQ’s ongoing live series called The Archive Collection. The aim of these limited edition releases (available only via their website and at gigs) is to give the band the finance to carry on doing what they do.

They’ve been doing it this way for some 15 years, and while the focus is on fundraising, nonetheless there’s never any question that quality is paramount. On The Road Of Bones is more evidence of IQ’s dedication to the highest standard.

It was recorded at The Met in Bury, which is clearly a haven for the band, and captures them in peerless form on a tour to promote their sterling 2014 album, The Road Of Bones. Inevitably, all five tracks from it are featured, and provide a strong spine for the music. While the original studio recordings were impressive, here they spring to life with an assured composure. It’s as if the band have got to know the intricacies and idiosyncracies of the music from playing it repeatedly on tour, and now have a better appreciation of the way it all holds together.

A brilliant representation of this replete band onstage.

The intro’s taken from the iconic 1931 Dracula movie, as Bela Lugosi extols the virtues of the “children of the night”. The band then sweep into a powerful rendition of Sacred Sound, before Outer Limits purposefully builds across a sheenof sumptuous keyboards from Neil Durant.

From The Outside In gives the first indication of The Road Of Bones material, with Peter Nicholls’ pining vocals spinning out a luminous story. This is again obvious on that album’s title track itself and also Without Walls, the latter leaning against a spiralling concourse of emotions from the former.

It’s a shame that Ocean doesn’t follow straight on, as it would be a fitting musical connection. However, Without Walls ends the first CD, leaving Ocean to open the second one. But while the magical atmosphere is temporarily broken, it is soon back on track, with Mike Holmes’ elevating guitar patterns leading the band into this poised excursion, before Durant’s keyboard provide a wash of opaque consciousness on Ryker Skies. Guiding Light, meanwhile, has that haunting refrain underpinned by a stately melody.

Until The End is the final chime from the Road Of Bones LP, while Out Of Nowhere is an upbeat echo back to the early 90s, even featuring a brief refrain from Abba’s Mamma Mia!, and it all climaxes with The Wake, a welcome glance back to the mid-80s, when IQ were once seemingly set for a stellar career.

Clearly left intact from the night, with no overdubs, On The Road Of Bones is a quite brilliant representation of this replete band onstage. If you’re not going to an IQ show any time soon, you can get it at through their online shop.

Malcolm Dome had an illustrious and celebrated career which stretched back to working for Record Mirror magazine in the late 70s and Metal Fury in the early 80s before joining Kerrang! at its launch in 1981. His first book, Encyclopedia Metallica, published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term "thrash metal" while writing about the Anthrax song Metal Thrashing Mad in 1984. He would later become a founding member of RAW rock magazine in 1988.

In the early 90s, Malcolm Dome was the Editor of Metal Forces magazine, and also involved in the horror film magazine Terror, before returning to Kerrang! for a spell. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He was actively involved in Total Rock Radio, which launched as Rock Radio Network in 1997, changing its name to Total Rock in 2000. In 2014 he joined the TeamRock online team as Archive Editor, uploading stories from all of our print titles and helping lay the foundation for what became Louder.

Dome was the author of many books on a host of bands from AC/DC to Led Zeppelin and Metallica, some of which he co-wrote with Prog Editor Jerry Ewing.