Boise, Idaho’s IQEQ is a musician’s band, a wildly adventuresome group that, to unenlightened ears, may seem as if they’re veering out of control. However, it takes discipline and a clear vision to map their tangled web of scrappy, tripped-out rhythms and mind-warping jams.

Julian Wilson: I have a hard time pinpointing IQEQ’s style because there seems to be a multitude of diverse musical influences at play in each track. On the surface, the band seems to be a collision between the sleek prog-rock of Steely Dan and the avant-garage energy of the Mars Volta. Would you find that to be an accurate description? How did you guys arrive creatively at this point?

Nate Paradis [drummer, vocalist, noise-machinist]: Yeah, that’s accurate enough. I suppose we came upon this sound mostly by letting things happen naturally and not canceling ideas because they didn’t fit into a specific idea of how we wanted our band to sound. We never sat down and made lists of things we wanted to do or things we did want to do. If it’s fun to play and says something musically or lyrically we don’t question it. We’ll just work with it until it feels right. I think because all four of us simply love so many different types of music we really have no control over that schizophrenia. We wouldn’t have it any other way though. While there is something to be said for a band having an easily marketable sound or identity, we’ve always tried to keep it interesting and fun for ourselves, foremost. Even if a tune originates from one or two members, when you stick us all in a room to work something out we’ve all usually been fortunate enough to put pieces of our individual selves into it most of the time.
 
Wilson: What does IQEQ stand for?

Paradis: I Quit Expecting Quiet. If Questioned, Exit Quickly, I Quietly Escaped Quarantine, the list goes on. It began as something that phonetically sounded nice and we decided early on to leave it open ended, just like our music and our musical path.

Wilson: IQEQ are pretty hook-oriented for a group so devoted to progressive rock, which is more often known for its complex musicianship than catchy tunes. How do you strike that balance?

Paradis:  By listening to the Beatles and the Mars Volta simultaneously every single day. Even music nerds like to hum along once in a while.

Wilson: I hear the manic inspiration of Frank Zappa on a couple of tracks. Was he a hero to you guys? What effect did he have on IQEQ in terms of ideas?

Paradis: I personally can only listen to about 1 1/2 minutes of Zappa at a time. Tom and Dan are music scholars that can probably appreciate it more but even still, they come from more of a jazz background so I think that particular part of our makeup comes from a different place than Zappa. Bitches Brew had more of an impact on their musical personalities and in turn the band’s. I like the idea of Zappa more than his music itself.

Wilson: How has IQEQ been received in live performance?

Paradis: In our time together we’ve gotten it all from silence to screams, especially on some of our supporting dates when people were really there to see the headliner. Bar crowds wanna dance; they generally don’t take surprises well. But after awhile we caught the ears of a few adventurous souls who were down for the ride. They got to know the songs and us so between january of 2005 and now, our fans have come to expect something exciting. Not to boast, but to illustrate the point, the LOCO/MOTIVE record release show confirmed that for us when we pulled the biggest draw of a local band at that venue. Our crowd was huge and nearly as excited to be there as we were; plus, we’re charming as fuck so we’ve got a grip of close friends that love to show up and throw down with us anytime.

http://ncgrecords.com/iqeq.html

Reviewed by Julian Wilson

LambBone/Wild Man

It took me a couple of spins to get the hang of LambBone. The self-proclaimed Wild Man of the title, John Lamb isn’t kidding around. Wild Man sounds like what Steely Dan would’ve recorded under the influence of some Summer of Love fumes. Lamb is out of control, slapping together parts of jazz, psychedelia (check out the spaced-out Moog on the title track), Beatles-esque classic rock, Latin pop, and funk. Yet, somehow, someway, Lamb manages to weave the car crash together into a quirky one-man symphony. And who said rock & roll has lost its power to stun, to surprise?

Thankfully, Wild Man is no exercise in studio-musician excess. Lamb isn’t throwing everything into the mix but the kitchen sink just for the sake of it. There are some terrific songs hiding beneath Lamb’s seemingly experimental collages of rhythm and melody. The enigmatic “Object of Desire” has an infectiously toe-tapping beat while the kiss-off “News” disguises its knife-sharp words with percolating tropical grooves. Even the instrumental, “John’s Theme,” moves the heart as well as the mind. It might take a little patience, but Wild Man rewards the ears with every listen.

http://www.lambbone.com