Iconoclast
Symphony X
Nuclear Blast
Four years after their 2007 release, Paradise Lost, progressive metal band Symphony X are back with Iconoclast — an album that, for all good measure may be the pinnacle of their career. Iconoclast was released June 21 and after listening to it several times you begin to realize how dense this album is. It’s dark, heavy, and full of surprises as guitarist Michael Romeo and vocalist Russell Allen bring all of their songwriting talent to the table for a 90-minute double-disk onslaught.
Fans of older releases such as The Divine Wings of Tragedy and The Odyssey will find that the ways of mythological themes and soft orchestral breaks are gone in place of dark tones and the concept of machines taking over futuristic earth.
Symphony X is well known for producing concept albums based on myth and ancient legends. The Odyssey was inspired by the Greek myth of Prometheus’ voyage while Paradise Lost reflected the biblical poem by the same title about the Garden of Eden. The thematic movement towards futuristic narratives is accompanied by a shift towards a darker musical approach.
In contrast with the elaborate classical melodies in earlier albums, the bridge to “The End Of Innocence” solo is marked with aggressive, descending riffs separating the foreboding choral echo: “The world is dying/ The precious sands of time are running out / We are befallen, made obsolete/ Methodically phased out.”
Romeo brings out all the stops with his athletic proficiency of the fret board in songs such as the nearly 11-minute title track “Iconoclast.” Fans of classical music will be pleased to hear the genre’s overabundant influence in Romeo’s musicianship. Iconoclast features a much more progressive approach to composition than previous albums with countless time signature and key changes.
The songs are skilfully matched by Allen, who has long been recognized as one of metal’s most versatile singers. Each track is passionate and in constant movement with Russell, almost voice acting at times.
“When All Is Lost” features the album’s most crisp vocals, giving it a smoother feel reminiscent of vintage Symphony X. Russell’s voice rings out, rich with emotion in an outcry about the machines: “Oh! Is this all we have to show? /Is this all they’ll ever know?/Can they find their way?/ What went wrong? Where have all the heroes gone?/ Trading futures for a song we gave away.”
From beginning to end, Iconoclast flows seamlessly, with each track expanding on the previous one, leaving you satisfied and oddly calm for a progressive metal album. Unfortunately, through no fault of the band, Iconoclast is a musician’s album, much like their others. Such is the niche that progressive metal tends to be.
Without trying to sound like a fanboy, Iconoclast is quite possibly Symphony X’s best album to date, with awe-inspiring songwriting and musical talent few bands possess. It may take several listens, but something will jump out at you.
