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Rating: Just in the days when the latest (and yet another) gigantic chapter of Dream Theater without Portnoy is released, I went to look for "Iconoclast," the latest album by Symphony X, the American band now known to most aficionados of metal and hard rock. They don’t have the promotional means of their "cousins" Dream Theater, but during their career, they have often equaled (and surpassed) the aforementioned band.
Iconoclast is the eighth album by Michael Romeo and company: the previous (and contentious) "Paradise Lost" of 2007 showcased a "new face" of the group: less intricate pieces compared to the past and a more robust proposal, more inclined towards heavy and less towards progressive. In this pseudo-mutation, there remained unmistakable elements, the same that are present in Iconoclast; the impeccable and varied riffing of a guitarist with indisputable talents like Romeo, always capable of alternating speed and technique in fiery solos; the extraordinary voice of a singer like Russell Allen, sometimes soft, sometimes aggressive enough to underscore his name in today's Bible of the best vocalists in the metal scene.
Stylistically, Iconoclast follows "Paradise Lost," but if possible, everything is offered in an even more metallic and less symphonic key: the sound architectures appear quite simple, with solos and instrumental digressions losing importance compared to the past in favor of a more traditional song form. The fundamental traits of Symphony X remain unmistakably recognizable: the title track, as well as the 10-minute opener, confirms how time and atmosphere changes are still the order of the day, with an overall thrust that more and more often grazes thrash. A slight look back with the lead single "The End of Innocence," this one more tied to bygone times and a varied and captivating power metal, where the band demonstrates really enviable overall chemistry.
Romeo's guitar, Allen’s voice, Pinnella's keyboard, Lepond's bass, and Rullo's drums are perfect in every section of the album: every little detail is perfectly in its place, sometimes even too much, giving almost the impression that everything might lapse into mannerism. This is also due to an almost perfect recording, thanks to a giant like Nuclear Blast. All the stylistic and musical precision of the five members is concentrated in "Dehumanized," one of the flagship tracks on the album, where Allen demonstrates all his vocal versatility, delivering an excellent performance.
There is no longer room for past instrumental digressions: now, Symphony X focuses more on solidity, on a skeleton of heavy riffs and almost always sustained rhythms, except for the first part of the concluding "When All Is Lost," another small great jewel of progressive metal in the X style.
The positive conclusion of Iconoclast reflects the entire album, which always appears well-balanced between light melodic glimpses and more heavy-oriented sections. All five members perform their work almost perfectly, crafting a precise CD without any flaw: perhaps it would have been better to articulate some pieces more convincingly and to give more vent to emotions, but Iconoclast returns to us, four years after "Paradise Lost," a band in great shape with clear ideas. For now, that’s fine.
1. "Iconoclast" (10:53)
2. "The End Of Innocence" (5:29)
3. "Dehumanized" (6:49)
4. "Bastards Of The Machine" (4:58)
5. "Heretic" (6:27)
6. "Children Of A Faceless God" (6:22)
7. "Electric Messiah" (6:15)
8. "Prometheus (I Am Alive)" (6:48)
9. "When All Is Lost" (9:10)
Tracklist Lyrics and Videos
08 Seven (07:01)
Above all - high and mighty - will like a towering
steed - a Web of Conceit that I weave
More...wanting much more - grasping with
Envious Eyes - dark desires lead to words
that cut like knives
Frozen in your tracks... No remorse
Embrace the rack - Twisting down your spine
... 'till the End of Time
It's Fire and Ice - make the Sacrifice
No one there to catch you when you Fall
It's Shadow's and Sin - Enemies Within
You'll be fine, so cross the line and Damn it all
Slip into Shades of Nothing - yesterday's
promises die - More, taking more than I need to
bleed you dry
Cut your throat - Abandon all Hope 'blood-money
lusting' portrayal - Break the trust from dawn
to dusk bring down the curtains on you final
act of betrayal
Empty hands recoil... feel your Blood begin to boil
Tails and Fangs or Doom - violently consumed
It's Fire and Ice - make the Sacrifice
No one there to catch you when you Fall
It's Shadow's and Sin - Enemies Within
You'll be fine, so cross the line and Damn it all
Virtue or vice? Will you pay the price?
When there's no one to catch you when you fall
...so Damn you All...
Give me hot-blooded yearning - infect and pollute
all that's pure - more than my heart can endure
Vengeance and Fury - Screaming
and eye for an eye - lashing out in Anger
I curse the sky
Demon Song is sung - first your ear ... and then
your tongue - Wear this Mask of Fire - and burn
for all you're desired
It's Fire and Ice - make the Sacrifice
No one there to catch you when you Fall
It's Shadow's and Sin - Enemies Within
You'll be fine, so cross the line and Damn it all
09 The Sacrifice (04:49)
Your Eyes singing to me sweet lullabies
While you lie there in submission
Forbidden desire
Alone in the moonlight hearts of fire
Burn away our inhibitions
When the stars lose their fire
And night steals the morning away
Forever and a day
I will stay, I will stay here with you my love
Sacrifice a heart beat away from paradise
All my reasons given way to temptation
Fear and shame
Looking for someone else to blame
We're devoured by these foolish accusations
With every fleeting breath I take
Maybe our love was a mistake
Eternal life I traded for one moment beside you
When the stars lose their fire
And night steals the morning away
Forever and a day
I will stay, I will stay here with you my love
When the stars lose their fire
And night steals the morning away
Forever and a day
When the stars lose their fire
And night takes the morning away
Forever and a day
I will stay, I will stay here with you my love
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Other reviews
By The Guitarist
Allen's voice remains of a superior class compared to all his power colleagues for its ability to incorporate all the nuances of these in their best variant.
Paradise Lost, at least for the moment, is one of the best albums of the year and a cornerstone of modern progressive metal.
By actingout
Michael Romeo’s guitar is absolutely devastating, and the drum sound does justice to the great musician Jason Rullo is.
‘Paradise Lost’ is one of the most beautiful songs I’ve ever heard, with a unique delicacy and intensity.
By zambo
This album is simply splendid, characterized by a more aggressive yet technical sound.
Paradise Lost is one of the most beautiful tracks composed by the band in 13 years of honorable career.
By Dreamtheater
Symphony X is showing a severe lack of innovation.
They are slowly fading, and "Paradise Lost" confirms it.
