From Jon Jeary to Damian Wilson to Glyn Morgan to Damian Wilson to Andrew “Mac” McDermott to Damian Wilson to Glyn Morgan. That’s how British prog-rockers Threshold’s singer journey looks like from 1988 to this day. Changing singers usually changes both sound and dynamics in a band and more often than not it changes the music too and everywhere a singer-change has happened, there will camps within the circle of fans. Threshold is unique in that area as the change of singer hasn’t changed neither the dynamics, sound or the music. And it looks like there are no camps dividing fans either. Threshold’s fans seem to dig the band no matter who’s singing. I do too. Luckily enough, Threshold has always had great singers which surely helps.
I admit that I find the first few Threshold records somewhat uneven and at times even mediocre but since the release of Hypothetical in 2001 and the six records that has followed, the quality have been sky-high and all those albums are real killers, in my book. That means that there are high expectations every time this band put something new out. The last album, Legends Of The Shires (2017) – a double album – took a few spins to really get into but when it stuck it sure damn stuck for real. One of the band’s finest efforts and also the debut for the returning singer Glyn Morgan – who did a splendid job.
The latest single “Haunted” opens the album and it’s classic sounding Threshold prog-rock we’re given here. It’s a driving tune with darker edges in the guitars and a brooding keyboard. There’s a dystopian vibe lyrically which matches the darker ambience. As a contrast we also get a softer and laid-back passage that with its acoustic guitars, silky keyboards and deep vocals brings on a ballad vibe before the song goes back to the heavier stomps. The melodies are big and hooky throughout the song and the chorus comes on distinct and direct just like we’re used to. A very good song and a great opener.
“Hall Of Echoes” brings a synth-laden opening and there’s a futuristic touch to the tune with almost industrial sounds along the way. The powerhouse guitar-riff that kicks the song into motion goes into a more melodic soundscape and a mid-tempo pace. The electronic and at times robotic twists over a heavier stomp contrasts brilliantly with big-hooked melodies and a catchiness in the chorus that almost takes it into Arena Rock territories and no matter which territory the song moves itself into, it always comes out as a Threshold number. Splendid.
Starting out slower, dark and haunting on top of a punchy beat and an in-your-face, crunchy riff, “Let It Burn” comes on as a more traditional prog-rock number. It speeds up some before it goes back to the slower pace and the heavy structure is something that goes on all throughout the song. Experimental parts rubs shoulders with highly accessible melodies and some AOR-ish “whoohoo”s and the somewhat repetitive chorus where the title is repeated is actually catchy more than monotone. Great stuff indeed. Slower and melodic yet very prog-rock with some staccato riffing, lead-off single “Silenced” is heavy with bouncy rhythms but also smooth, hooky and even poppy when it comes to vocal-melodies. There’s a dramatic arrangement vocally too but the sharp hooks in the chorus makes it almost hitty. Great stuff.
Right in the middle comes the first of two long, epic prog-metal tracks, “The Domino Effect”. It’s a majestic track, both dramatic and somewhat cinematic. It opens orchestrated but continues ballsy and quite direct with a bombastic soundscape and poppier melodies and it gives a Dead Reckoning (2007) vibe – heavy and punchy yet with contagious melodies all over – and let’s not forget about the Classic Rock striking organ either. A quieter a more held-back yet still bombastic passage brings up the dynamics before it takes a turn and becomes heavy with some meaty and edgy riffage. It’s a song that’s both proggy and live-friendly groovy with some magnificent melodies and a stand-out chorus. Brilliant stuff.
Also released as a single/video, “Complex” is a more heavy and punchy hard-rocker that holds a very direct and distinct vocal-melody. It’s an energetic and straight-forward track with proggy elements and a comparison to a song like “Slipstream” isn’t far-fetched at all. It’s punchy with direct melodies and a contagious chorus that holds a hitty nature. Very good. The same goes for the single “King Of Nothing”. It’s a fat, hard-hitting prog-metal rocker with some edgy riffing and a darker ambience in a mid-pace but it’s very melodic at the same time and it holds a massive chorus with an intense hook. Terrific stuff.
“Lost Along The Way” takes a real left-turn as it brings out the guys’ inner 80’s pop-metal right in our faces. It’s a straight ahead tune with a smooth soundscape where the melodies are on the slick side, even AOR-laden at times. There are references to prog-rock in there and it holds a juicy rhythm but the contagious hooks draws more towards mid 80’s Magnum than actual prog-rock and the chorus is simply irresistible. Why this isn’t a single is beyond me – it sounds like a hit for miles. The slow paced “Run” might be both heavy and hold a crunchy riff over a solid beat but the smoother melodies makes it come across as a semi-ballad. It’s a shorter track full of big vocals and another distinct, catchy refrain. Very good.
The album ends with the second epic number “Defence Condition”, 10+ minutes long that starts out with a crunchy riff that’s carried by a ballsy beat with melodies that screams classic Threshold. The song is an ebb and flood of faster tempos and slower and darker paces. The song holds an ominous and eerie atmosphere where the darker parts go and a more firey vibe in the faster parts. The melodies are captivating and affable no matter which turn the song takes and there’s a hook for every twist with striking vocal-lines and a massive chorus that grabs a hold right from go. It’s a lot to digest but for some reason the 10+ minutes feels much shorter. This is brilliant.
To be honest, my first impression of this album was a bit meh. Not bad at all but the album just didn’t catch on like Threshold’s albums usually do. But it started to grow on me already by the second spin and after a couple more it had me in its grip. Now I have a hard time picking favorite songs because all ten of them are stellar. The musical performances are all solid, something that goes without saying when it comes to this band and the production is stellar too – it sounds just as good through my phone as it does in my car. While it’s still not as great as its predecessor, it’s still a killer effort and for us already seduced, the album is a no-brainer. The question is when the rest of the world will wake up. Threshold might be a prog-metal band but this lot puts songs and melodies in focus which is always the right path to take.
8/10
More Threshold reviews:
March Of Progress
For The Journey
Legends Of The Shires
Tracklist:
1. Haunted
2. Hall Of Echoes
3. Let It Burn
4. Silenced
5. The Domino Effect
6. Complex
7. King Of Nothing
8. Lost Along The Way
9. Run
10. Defence Condition
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