When a band decides to revisit their past, it is rarely a successful endeavour, as albums typically represent a snapshot in time, with even perceived flaws playing a part in creating a specific atmosphere. As a case in point, In Flames’ anniversary reworking of various tracks from Clayman met with a decidedly muted response (and deservedly so), and that was just a handful of bonus tracks appended to a remastered version of the original, rather than a full-blown replacement. As a result, I approached Icon 30 with trepidation. However, while Icon has achieved the status of a classic over the years, Paradise Lost have more reason than most to want to revisit the album, specifically the fact that their record deal at the time meant the band owned neither the masters nor the artwork – a frustrating state of affairs limiting the band’s options in terms of a reissue.
The Package
Having caught Paradise Lost performing the album in its entirety at Shepherd’s Bush Empire, I was lucky enough to pick up a signed copy of the CD. I’m glad I did because, otherwise, this is something of a bare-bones release. While the aforementioned legal issues prohibit period bonus tracks, the band could have added a booklet containing contextual liner notes. As it is, the album is packaged in a four-panel digipack, with the new artwork, the most basic album info, and the disc itself. Considering that Paradise Lost went to all the trouble of reworking the album itself, it’s a shame they didn’t make more effort over the packaging, and it feels like a bit of a missed opportunity. For vinyl enthusiasts, however, there is a coloured vinyl edition.
The Album
Possessed of a number of fan favourite tracks, regularly aired live over the years, Icon may not quite reach the peak of the stunning Draconian Times, but it’s rightly regarded as a classic in Paradise Lost’s canon, and it neatly refined the approach the band initially adopted on third album, Shades Of God. For the re-recording, the band worked with long-time collaborator Jaime Gomez Allerano at two studios – Jaime’s own Arda Recorders in Portugal for drums and vocals, and Greg’s Black Planet Studios for guitar and bass. The results are impressive, albeit not revelatory, and while fans will undoubtedly argue over whether the dry atmosphere of the original or the tauter production of the reworking is preferable, it’s certainly a creditworthy effort.
And so, as the well-worn riff of Embers Fire rumbles from the speakers, it’s a case of playing spot-the-difference. The new version is certainly crisp with Jaime keeping the guitars on a tight leash, allowing elements such as Greg’s rippling solo to leap from the speakers, while dialling back other elements (most notably the clean guitars that add texture to tracks like Remembrance). The drums are also reined in, with clear treble and a hint of reverb providing depth, while the bass is less well-defined, lacking punch but rounding out the sound nicely. It feels very much as if band and producer made the decision early on to record this in the style of the early 90s, and the result is a faithful retread, rather than a redux moment – a sensible move given the importance of the source material.
While the guitars surely benefit from this re-recording, it is arguably Nick’s vocals that emerge the best. Confidently recapturing the spirit he brought to the original, his vocals have matured in the intervening years, and he delivers the songs with a strength and clarity that consistently impresses. It is not always easy to deliver a well-worn vocal with spirit but, for whatever reason, there’s a sense that Nick really clicked with the material, and his performance never falters. Listening to him tear into the likes of Shallow Seasons (a track the band also attack with fervour) is a treat, and it is worth upgrading your original release for moments like this alone.
As for the album overall, the songs that prove the most effective are the ones that have had less live representation over the years. Tracks like Joys Of The Emptiness, Dying Freedom (which sees the bass break from its shackles in the latter half), and Colossal Rains all benefit from having rarely been played, with the result that the band approach them with considerable energy. The likes of Embers Fire and Widow are also well delivered, but more with the benefit of experience than the excitement of reacquaintance.
Conclusion
With strong performances from the band and a solid production, Icon 30 is a worthy release that offers a more enjoyable listening experience overall when compared to the rather anaemic production of the original. Whether a remix/remaster would have been preferable is a moot point, thanks to the legal situation, and fans should be grateful that the band cared enough to afford the album a celebration at all, given that they could simply have left things well alone. That said, the package itself is somewhat ungenerous. Absent both bonus tracks (original, or re-recorded) and liner notes, it feels somewhat meagre when placed alongside the gorgeous digi-book edition of Draconian Times. On the other hand, Draconian Times had major label backing from Sony, while the band appear to have funded this release themselves, and this edition does have the benefit of placing the focus firmly on the music where it belongs.
Overall, Icon is a classic that sits high in Paradise Lost’s catalogue and it deserves celebration. Fans of the original unconvinced by this re-recording can keep hold of their copy, but those who found the production somewhat lacking are advised to track down a copy of Icon 30, as it offers a clearer, tighter take on a well-worn classic. 8.5/10
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