Iconoclast is the fifth full-length studio album from German Metalcore/Melodic Death Metal band Heaven Shall Burn. The album was released on January 28/February 5, 2008 on Century Media.
First off, I want to comment on how absolutely awesome this album art is. One of my favorite styles of album art, and looks sort of like the cover art for Roorback by Sepultura (though it’s a bit of a stretch). Awesome work, whomever you are. I’ll look in the liner notes eventually to actually check the artist’s name.
Anyway, on to the music. As an album, this one is in the top ten metal albums of 2008 for me, easy. As with many of the bands I review here, this was my first taste of the wonderful german musicians. From start to finish, this album blew me away. I immediately went out and purchased the rest of their albums. Well, went to Amazon.com anyway.
I’ll touch on the few things this band do wrong on this album first.
… Oh wait, I can’t really find anything. There are no actual “flaws” in this album. I’ve heard people complain about the “Static X-esque” dance part of “A Quest For Resistance” but I don’t see the upbeat rhythm a problem at all. I personally like it, and think it fits in quite well with the album.
Now, since there’s not really anything I can see that they did wrong with the album, there are some things that weren’t perfect, and there were a few things that were done impeccably.
The single best part of this album is the vocals. Marcus Bishchoff has found one of the coolest recorded vocals I have ever heard. A majority of the vocals on the album are recorded twice. Once with Marcus screaming in a high or low tone, and the other the opposite. The vocals sounds to visceral and dark. They can be spine-chilling at times. In the first vocal parts of “Endzeit” it is quite easy to tell that this is happening, and it works to perfection.
The next best part of the album are the lyrics. They are a bit cliché in subject matter, but are incredibly well written. Take this excerpt from “Joel”:
“A preacher in a palace, deriding Luther’s fight
jugglers rise to icons, fiddlers playing saints
selling hope and warship mammon
blindness, fear, delusion – their intrinity
as you have paid the price, welcome to paradise”
From song to song, this album delivers on all fronts. Each song as intense as the last (excluding the interlude toward the end of the album, “Equinox”), and never once do I get bored listening to this album. I don’t even skip the interlude when I listen to the album. Because of the way the album ends, on two separate instrumental tracks, the latter being more intense and unresolved, I always find myself wanting to listen to the album again. Now, many people might fins this as a problem, but I love the idea. It’s absolutely brilliant to end an album on a slightly unresolved note (hypothetically) to keep the listener’s attention. “Atonement” is filled with such build up, such power, and such dissonance it always leaves me wanting more, even though I an never unsatisfied. There have been very few albums that have truly brought out my inner music glutton, this being one of them.
So, this is a great album. Perfect? Of course not, don’t be silly and naive. This album has hooked me, however.
Track picks: “Endzeit” and “Joel” – “Atonement” gets an honorable mention.
Overall score: 10/10 devil horns