The darker, heavier ‘Paradise Lost’ – based on works of poet John Milton – lies four years behind us. During that period, Symphony X has moved towards a proper metal approach. Guitar slaughter Michael Romeo is right when saying that Symphony X happens to be a metal band, not a progressive rock band and consequently they feel at home at Nuclear Blast. When we have to come up with any core words to describe ‘Iconoclast’ it should be: overwhelming, energetic and Dio. Yes, Ronnie James Dio. Vocalist Russell Allen, graced with an imposing throat, goes for an obvious approach on this album: Dio is his main inspiration and that’s what we hear. He successfully stands proud in the midst of aggressive guitar skills from buddy Michael Romeo, while keyboard player Michael Pinnella regularly goes in duel with the six strings master, but his escapades are not so featuring anymore.

Above all ‘Iconoclast’ appears to be a challenging album: here we are as a band, in full armour, take it or leave it. Is this a problem? Not at all, since Symphony X includes impressive musicians who know what they are doing. Take the title track for example, at the same time the opener of nearly eleven minutes length. Dream Theater has to come up with something exuberant to surpass, or even top this. The crawling jazzy patterns blow your speakers, while sinister choirs create a link with the previous album. This hectic track has accentuated drum skills from Jason Rullo while a victorious feel reigns in this first magnum opus. It leaves you breathless when silence returns after eleven minutes. ‘The End Of Innocence’ is more straight forward, a smart move to insert a bit of catchiness now. Yet bruiser-like energetic tour de forces seems to be the keyword on ‘Iconoclast’. Just take ‘Dehumanized’ as example, one of the songs we could enjoy live recently. The title spontaneously reminds me of the last Black Sabbath album with Dio as singer (before they turned into Heaven & Hell of course), but in ‘Bastards Of The Machine’ vocal lines are even more inspired by the small man with the huge voice. This characteristic has a provisional summit in ‘Children Of A Faceless God’, while magnificent guitar skills of Romeo and sublime keyboard pads of Pinnella rule the roast. When I read that ‘Iconoclast’ should be more mechanical and industrial, I was a bit worried. What does it mean? But no worries, that’s only a saying, incidentally illustrated in ‘Electric Messiah’. After an occluding moment of supreme tour de forces we can feel delight during an emotive highlight: the piano featured ballad ‘When All Is Lost’ gives room to Russell Allen’s vocal skills, once again relished with exquisite guitar ornaments by his brother in arms Romeo. A love relationship between metal and prog has once again led to a supreme album!