ICONOCLASTA is part of the «new generation» of progressive music still being produced, and one of the few progressive bands from Mexico. While Mexico is not an obvious hot bed of progressive coals, ICONOCLASTA makes a worthy attempt at creating quality progressive music. ICONOCLASTA have several albums and one EP, which have recently become available on CD. Iconoclasta’s 1983 self-titled first release represents a developing band that is still trying to find a style.
Progressive doesn’t come naturally from this band. It seems obvious that the band members have a passion for prog rock, but their overall style still sounds like a smattering of other bands rather than a cohesive whole. I keep getting the feeling that I’ve heard it all before. «Cuentos De Arquicia,» the first cut, sounds almost popish, with a bouncy keyboard line. But ICONOCLASTA’s sound develops in the second cut, and improves with each tune. The main instrument is the electric guitars, with the keyboards secondary, though frequently used. Ricardo Ortegon is a capable guitarist, but needs to find a few more tones for his guitar. It seems that Ortegon’s first exposure to electric guitar was the «two slightly distorted guitars» from Mike OLDFIELD’s «Tubular Bells». That tone is predominant throughout the album, though Ortegon breaks out from that tone somewhat in «Reminiscencias». By «Memorias De Un Hechicero,» I was tapping my foot and bouncing my head, despite myself. That is a good sign. «Estudio VI» is a guitar study over a progressive keyboard rhythm. Flamenco and other Mexican styles really surface in this tune, though other Mexican rhythms can be detected throughout. But fortunately, this album isn’t JUST flamenco guitar and progressive rhythm. «Reminiscencias» is a far better conceived thematic work than ICONOCLASTA, addressing the band’s pacifist anti-nuclear stance and their criticism of the arms race. However, I couldn’t detect this by listening to the new singer, since the lyrics are falsetto Spanish. Fortunately, the focus is on the instruments and not the voice. The music is thoughtful and introspective, progressing toward a unified whole rather than a slapped together amalgamation.
The 16’40 opus, «Reminiscencias De Un Mundo Sin Futuro» (Reminiscences Of A World Without A Future), is the centerpiece of this album. Though I think this epic cut starts out a little slow, the tune develops rather nicely, again showing Mexican influences throughout. This tune is a very good piece that definitely has its moments. I really would like to hear some of the later ICONOCLASTA. After listening to their first two attempts, I can definitely see a decent band in development, one that could become excellent with maturity. If ICONOCLASTA continues in the same direction, they may forge a unique, quality style of their own that pays homage to the best of the Italian progressive stylings and the band’s Mexican origin. I haven’t heard the others, but «Soliloquio» is supposed to have a fusion tinge, while remaining symphonic, and
«Adolescencia» is supposed to be squarely in the rock-jazz vein.
: : :> Alberto Ramos <: : : MEXICO
