Symphony Xs eighth studio opus (and first for Nuclear Blast), 2011s Iconoclast, sees the New Jersey progressive metal veterans exploring the potential dangers of technological overkill over the same prog-power-symphonic metal foundation thats served them well for two decades. Why mess with a winning formula, right? And so, the albums 11-minute title track pulls no major sonic surprises, yet still sets the albums sophisticated tone, thanks to the lush orchestrations and choirs draped across the bands traditionally metallic attack. Some might say it comes across like Queensryches Suite Sister Mary on steroids, but it also represents the most overblown qualities to be found here, along with subsequent epics like the Children of a Faceless God and the disconsolate When All Is Lost. A series of more compact tracks are included as well, but they obviously lack nothing in the way of instrumental complexities, nor do they drop the ball in terms of advancing the albums story line, as evidenced by the likes of Dehumanized and Electric Messiah. Among these, power metal-infused numbers like The End of Innocence and Bastards of the Machine prove especially catchy, in spite of the consistent tornado of notes spun between guitarist Michael Romeo and keyboardist Michael Pinnella, not to mention the percussive barrage churned up by drummer Jason Rullo. Amid all this controlled mayhem, bassist Mike LePond acquits himself well for someone who basically has to hold down the low end while playing third fiddle in the bands own Mike hierarchy, but kudos must go as always to vocalist Russell Allen, whose tuneful gruffness and superior emoting always stands out from prog metals commonly regimented, squeaky-clean, and often piercing singing stereotypes. This album finds Symphony X in top fighting form, adding another memorable chapter to their impressive and ever-expanding legacy. ~ Eduardo Rivadavia

Rovi