A mostly instrumental band and one of the first Mexican progressive groups, Iconoclasta has been revered for years for epic-length songs that are influenced by classical, folk, and jazz music. Although the band's music has often been compared to the instrumental passages of such progressive rock giants as Yes and Genesis, Iconoclasta has also pursued a far-more experimental edge, exploring avant-garde rhythms and songwriting.
Iconoclasta was formed in Mexico City in 1980 by Richard Moreno (guitar, keyboards) and Ricardo Ortegón (guitar), and later grew to include Victor Baldovinos (drums), Noemí D'Rubín (bass), and Rosa Flora Moreno (keyboards). Although the band's original sound was more attune to sloppy garage rock, they soon grew into a more progressive group, showing both jazz and folk influences. They began to make a name for themselves as a cult act in 1981 and by the time of their first release on their own Rosenbach Records, they had established a name for themselves in Mexico. While their eponymous debut was a bit sloppy, their second album, Reminiscencias (1985), which had a stronger keyboard sound, was greeted with much applause. A political concept album, the record tells the story of humanity and the modern dangers it faces. Their next record was the EP Suite Mexicana (1987), which merged rock with Mexican folk music from all eras. Ever-changing, Soliloquio (1987) found the group moving toward a more jazz-influenced sound. Following the record, both Rosa Moreno and D'Rubín left the band. As a result, former Praxis guitarist Héctor Hérnandez joined the group with Richard Moreno taking over keyboard duties and Alfredo Raigosa becoming the band's new bassist. Iconoclasta's next record was Adolescencia Crónica (1989), which was the band's most experimental work, with an emphasis on trance-like rhythms and slowly building pieces. En busca de sentido (1990) built on the previous album's sound. After a successful tour of Spain, Raigosa left the group to be replaced by Juan Carlos Gutiérrez. After a live album, the band endured the departures of Hérnandez and Gutiérrez. This was followed by the return of Noemí D'Rubín. Their final album, La Reencarnación de Maquievelo (1991), found the band returning a bit to their older sound with cleaner production and slight electronic influences.