The boys from Jersey are back and kicking as much ass as ever. 'Nuff said.It's that time again, progressive metal fans: another release from Symphony X. What may have begun as a glorified demo from guitar phenomenon Michael Romeo has long since become a tight, musical machine and one of the major players in the progressive metal genre. If Dream Theater is the confident, prevailing Zeus in the pantheon of progmetal gods, then Symphony X is surely Hades, the fiery, formidable counterpart. And while Dream Theater has shed some of the trappings of the musical style it helped define in the pursuit of innovation, Symphony X continues to wear its influences on its sleeve - without sacrificing maturity.
Now Romeo's playing may get the focus - progmetal is a predominately guitar-driven genre after all - but Russell Allen's vocals have gotten better on every album since his debut on The Damnation Game. And you'd be hard-pressed to find a better backing section than Pinella, Rullo and Lepond on keys, drums, and bass, respectively, all of which collectively makes up an amazing sound under the masterful direction of Romeo (who's produced every album since The Odyssey).
Iconoclast isn't a concept album per se, but there is a theme along the lines of classic science fiction and the fear of a world taken over and run by machines. The album has a suitably darker, apocalyptic quality than previous releases, following the lead of 2007's Paradise Lost. Frankly, I like the tone and the appropriately aggressive nature of Romeo's incendiary leads coupled with Allen's measured growls. Russell's voice has steadily gotten more ferocious in recent years without losing the smoother side of his near four octave range (compare When All Is Lost and The End of Innocence). The man's just amazing, one of the best there is, no question.
But in the end it all comes down to Michael Romeo's playing and songwriting. Iconoclast starts out with an amazing instrumental prelude to the title track that serves to introduce the major players in this theme; a frenetic, machine-like interlude that flows into a soaring keyboard/vocal measure of human spirit before Russell breaks in at the 3 minute mark. Now if you're a Sym X fan, you know what follows: Romeo's insane legato flurries, Russell's majestic vocals, Rullo's dynamic, jack-hammer drumwork, Lepond's fluid, bass runs and Pinnella's jaw-dropping keyboard pyrotechnics, all showcased in every one of Romeo's inventive, exhilarating, compositions, replete with odd time signatures, and the dynamics normally only heard in symphonies outside of the better progmetal bands. (deep breath)
The most gratifying thing about every Symphony X album I've listened to since being turned on to The Divine Wings of Tragedy on a cold winter's night (I still grin like a maniac when I hear Of Sins And Shadows) 14 years ago is that I find something new to be amazed by with every subsequent listen. The music is just so layered it rewards the eager listener.
The Bottom Line: If you're a Symphony X fan, you'll most likely love this as much as I do. But if you're new to the music of the boys from Jersey, and you like the metals, give these guys a try. You will most likely come out of it with a new appreciation for the genre - and a sore neck.
Standout Tracks: Are you shitting me?
- Genghis is in his best rockstar pose air-guitaring his ass off...
Tuesday, July 5, 2011 at 12:48PM 
Hittin' up that vay-cay-cay, baby. Mmm...smell the melanoma!So, rather than give you more excuses, let it be known that our summer vacation here at The Right To Rock will be drawing to a close around next week. At that time your hosts, Genghis & Ragman, will be getting back into the swing of things with new content.