There are some albums that you are never quite ready to review, despite having them for multiple months. That being said, I’m also so fucking excited for the world to hear this chaotic masterpiece of modern metal in full. The epitome of heavy, the grooviest destruction you will bear witness to in 2023, Iconoclast is Herod‘s reckoning for the modern metal scene, and it will be a lasting one. Lauded by many in the doom, sludge, and post-metal scene for their monster second album Sombre Dessein, Herod elevate their sound, songwriting, and atmosphere to new levels in their third entry.
When I interviewed Herod for our Weekly Featured Artist feature back in 2021, the band alluded to the fact their sound would build on the foundations laid in the previous two, but deliver even better climaxes. With the band’s sound following a similar train of thought to that of bands like Meshuggah, the incremental tonal shifts in the riffs combined with accentuated grooves are all important in getting the listener moving and feeling something new. I’m delighted to inform you that they deliver on every front here, with the band creating an atmosphere like no other. And despite the relentless carnage, each track stands out, either due to a breakdown, the vocals levied, or the journey they take you on.
All that being said, the first four tracks on the album are undoubtedly the strongest of the record. Each has a trademark imprint that it leaves upon the listener, each is the band at their very best. “The Icon” is a depraved opener that showcases the band’s redesign of their sound perfectly. Sombre Dessein is an unbelievable record, but when comparing the two side by side, you understand what was missing from their sound – a level of cohesion between the layers that escalates the sound to another plane of existence. And whilst I might sound slightly mad stating that X wall of sound is better than Y wall of sound, when you play the records back to back, you’ll notice how fucking brilliant their sound design has gotten as a whole.
“The Icon” is not only damn heavy, but it is also really bloody catchy. The main riff is paired excellently with vocalist Mike Pilat unleashing some excellent lyrics to get your blood pumping and your body moving. Happy, sad, depressed, enlightened, this track fits every mood and is an excellent way to warm the audience up for the insanity left to come.
In my opinion, being heavy doesn’t count for anything, though, if you can’t employ ambience and contrast throughout not only tracks, but albums as a whole. Herod is so bloody good at it: at times, within the first two minutes of a track, they have escalated to the furore many bands close their biggest track with. “The Girl with the Balloon” is a prime exemplar of this, with the band effortlessly flitting between a gruelling demonic, droney ambience and what feels like the full force of a black hole. It dials back the energy of the first track but is equally stunning in its magnitude of sound.
“The Edifice” is hands down my favourite track on the album. The core riff is absolutely stunning and is easily one of my favourites of all time. I’m completely inept at the technicalities behind the techniques used, but it feels like you’re caught in a riptide that keeps dragging you further and further into hell, with undulating drums helping to create a feeling like this riff is eating itself alive. The way the vocals, drums, and guitars blend into this all-consuming roar is truly unbelievable. And it isn’t heavy for the sake of heaviness; it is calculated and direct, with layers added and removed with brilliant precision, creating an atmosphere that feels unmatched in the current metal climate. It is also super refreshing that Herod knew how fucking excellent the core riff is, and played around with it in multiple styles to create absolute chaos. I can’t remember the last time I moved so much to a track, especially one that pushes over five minutes.
Something I’ve been enjoying seeing is graceful takes on Eastern music by Western metal bands. Bismarck and Wyatt E are two artists that come to mind, and Herod‘s foray into the territory can also be considered a massive success. Mike steps back from vocals duties on the next track, instead with the mic handed to the choir of Le Mysterè des Voix Bulgares for what is a completely unique track. It feels distinctly alien, and more of an ode to sci-fi films like the recent Dune film and 2001: Space Odyssey, perfectly capturing both the oppressive atmosphere from Hans Zimmer‘s score and the alien, psychedelic nature of the latter. Sometimes I like to simply pause the album after the track and reflect, as the intensity created in its final swells is almost beyond comprehension.
“The Becoming” returns the album to groove central, and from here on in, the album doesn’t slow down in the slightest until the finale. “The Prophecy” is not only brilliant closure for the record, but it is also great that they gave Loic Rosetti a proper song to sing on. The Ocean‘s latest records have completely neutered his exceptional range, and hearing the raw emotion of the vocals and the mind-bogglingly fantastic duet between Mike and him on “The Prophecy” fills me with overwhelming joy. The endless climaxes from the instrumentation take this track and album to the stratosphere, the whole journey something I endeavour to embark upon at least two to three times a week, if not more.
Iconoclast isn’t just a brilliant album, it is a template for success that many heavy bands should look to follow. Whilst I have absolutely failed to delve into the deeper meaning of the record this time, I look forward to that side of the journey over the coming year. It’ll certainly be a staple for the next few months and so far occupies my number one spot for the year by a country mile.
