DEAD RECKONING

Threshold has been a band that has kept growing with me. The more I hear their better music, the more I like it and the closer they get to become one of my favorite ten bands. The first album that I owned by this band, 2001's HYPOTHETICAL, is still the one I like the most and I consider it a masterpiece (I even gave it a rating of 5 stars). Then I bought SUBSURFACE, which is another excellent album, almost at the same level as the one mentioned before. After that one, I got all the other albums bar their debut, WOUNDED LAND, and I have to say that they make for a very decent progressive- metal song collection. So, it was only obvious that I was awaiting the arrival of the new release, DEAD RECKONING, with high expectations. Now that I've finally listened to it more than three times, is time for me to give my impressions on the music it contains.

I will say it from the start: the album is good but not superb or excellent. I was afraid that the "cycle" that I found with Threshold's albums was going to once again prove to be true, and it did. For me, Threshold's releases always come like this: a great album followed by a lackluster, weaker one. I haven't heard their debut, but from their second CD onwards, this tendency I've discovered in the UK's band's music has been repeated without exceptions. An awful album like PSYCHEDELICATESSEN was followed by a very good album, EXTINCT INSTINCT; then, a rather insipid record like CLONE came about (which has gotten pretty good reviews, though I see it as just an average album); after that one, Threshold's masterpiece, HYPOTHETICAL, then a weak, uninspired effort like CRITICAL MASS, followed by another fantastic achievement like SUBSURFACE, and finally, DEAD RECKONING, which, although still a enjoyable experience, is nowhere near the level of its predecessor.

My biggest complaint about DEAD RECKONING is that the band seemed to have preferred heaviness just for the sake it, leaving melody out to dry. There are too many very-heavy riffs in DEAD RECKONING that at times make for a repetitive, difficult experience to swallow. Threshold's music has always been riff-heavy, but in their latest release they've taken this characteristic to the level of exclusivity, excluding melody from the final musical formula. Another aspect that I don't like so much about this recording is the lack of truly memorable songs. Whereas HYPOTHETICAL had true metal anthems like "Light and Space" or "Narcissus", EXTINCT had "Eat the Unicorn" and SUBSURFACE had "Mission Profile" or "the Art of Reason", the new material lacks a piece that can really stand at the same level with the likes of those fantastic tracks. I've always been quite a fan of Threshold's "anthemic" choruses, (a feature that turns many people away from the band), and in the new album the choruses lack the inspiration, the grandiosity, the epic feeling that many of them had in previous releases. A third element that I don't agree with in DEAD RECKONING is how the keyboards have been cast aside from the final mix; they are still there, but they aren't here anymore. That's pretty weird considering that Richard West, the keyboard player, is the main composer of the songs for the album.

A word about the growling. Well, better yet, a question about the growling: what's the point?!? I know there are no more than 6 or 8 total sentences sung in that style here, but they still feel oddly misplaced, completely absurd, and totally forced. I don't understand the reason why Threshold decided to have Swano growl a couple of verses in the album, and I think I never will. At least it's so unnoticeable that it doesn't harm the record that much. But at the same time, if it happened more often throughout the record, it would feel less awkward, more natural.

Slipstream (9/10) Without doubt the best track on the album. The main riff is very heavy, sounds like Dream Theater from TRAIN OF THOUGHT-meets-Metallica. Before the chorus we have the oddly-placed growling by Dan Swano, and after the pre- chorus, a great chorus that almost reminds us of the anthems of the past. An energetic, powerful song.

This Is Your Life (8/10) A very fast, short, dynamic song that packs a heavy punch. The chorus is good, but the main riff is a little bit too commonplace. Good song.

Elusive (7/10) Now this song is not really bad but the start is just weak, with uncalled- for growling and noise. The main verse's riff is, again, too mundane. The chorus is decent, but too un-conclusive, too un-epic, too-superficial. An average song.

Hollow (8/10) The continual onslaught of metal keeps on coming, yet in this song some of the elements of old Threshold re-surface, like MELODY, at least in the chorus; and the keyboards re-appear after being in limbo for more than 10 minutes. I just have to applaud Mac, an underrated singer whose voice may be somewhat of an acquired taste for many (at times it sounds too "hair-metal" if you get what I mean), but with time and listening to it closely, it reveals a deep, powerful energy and passion, something that helped the band make up for the lost of master-singer Damian Wilson. A good song.

Pilot In The Sky Of Dreams (7/10) Threshold's long tracks have always been their strong point, from "Eat the Unicorn" to "Ravages of Time", they have always been my favorite. But, sadly, this time around they've turned out to be the weakest link in the release. This track starts quietly, in an almost AOR vein. A plane's engine signals the start of the metal attack. The riff is nothing to write your confused friend in the island about, but then the pre-chorus seems to be the gate to a magnificent chorus like those of old. The real chorus is not that memorable, but it works. Too uninspired an epic to be given a true great rating. REO

Fighting For Breath (6.5/10) guitars screaming in high pitch, then a very heavy riff, nothing new. Mechanized voices by Mac who sounds strangely similar to LaBrie for a few seconds. Then the marching chorus, it has energy but lacks bright. I can't believe this but here we have an 8+ minute song by Threshold that actually BORED me.

Disappear (6.5/10) Just some piano and strings. Then the main riff is interesting but not too melodic. Another run-of-the-mill chorus, lacking any creativity. Not a brilliant track.

Safe To Fly (8/10) The beginning of the song doesn't sound particularly original, but this is a good track. The chorus is almost memorable, if a little too REO-Speedwagon-ish at times.

One Degree Down (6.5/10) The first riff of this song is powerful and heavy but also interesting, at last. But then the main riff is too DT-like. When I first heard this album I kept expecting this one to be the track that reminded me of the epics of previous albums, but that didn't happen. The chorus is weak, forced, sounds a little awkward. Incredible: another boring 8+ minute song by Threshold, something that was unthinkable of in all the preceding albums.

All in all, some decent tracks make this an enjoyable experience, a good metal album but nothing great or spectacular. The problem is that it lacks inspiration, it lacks the luminosity that its predecessor had.

Recommended for: Threshold fans, specially those who like CRITICAL MASS, as this album sounds very much like that one; progressive-metal fans that like their music to sound very heavy-metal and not too progressive.

Not recommended for: Threshold fans looking for HYPOTHETICAL PT. 2, people that don't like metal in general. This is not a fantastic album, it's just slightly above average.

. But, according to my diagram, the next album should be great, so let's keep up the hopes for that.

I got interested in Threshold in the time Damion Wilson was the singer of the band. I thought he was an outstanding vocalist and of course there was also Karl Groom, one of the best guitarists around. When Mac entered the band the sound of the band changed but I can't say they got any worse, they got more accessible thanks to him in my believe. Every credit to the other band members by the way, f.i. Johanne James is a fantastic drummer. Threshold has become a very mature and entertaining band through the years, no doubt one of the best in the prog metal scene especially where quality is concerned.

The last 10 years I always look forward to their next release and they rarely disappoint me, you could say never. It's the same with this one, Dead Reckoning. I don't know how they do it every time, writing these very melodic, often brilliant compositions. They have found a formula the last 5 albums or so that appears to work perfectly and I can't say it's starting to get boring or anything like that, I can't get enough of it. As usual I mostly focus on the longer tracks to build my judgement upon and also in this case it turns out to be the right strategy. Though the shorter songs are not bad at all, Elusive, One Degree down, Fighting for Breath and especially Pilot in the Sky of Dreams are more than excellent. Again: how do they do it ? It just gets better and better with these guys. The Pilot-song is a good example I can not describe how good it is, I will be running out of superlatives over this song. I usually love the instrumental parts of songs, I am even a supporter of instrumental songs, but in this case Mac does an unbelievable job in the vocal part of "Pilot", the melody is simply fantastic. I think this has to be their best song ever.

It almost brings me to giving this album 5 stars, but it's actually 4.4 so I have to stick with 4 stars (almost masterpiece !).

Holy God, I thought, this is METAL! I prepared my head for the heaviest headbanging I ever experienced, but unfortunately it all sapped after few songs. THRESHOLD have never been favourits of mine, but they were at least good. This time, even after numerous listenings, I could hardly remember any song except for opening "Slipstream" (a good one indeed!)...just some choruses...riffs...and nothing more. The whole idea is simply disappearing among these tracks, there are too many cliches and forgetable bits to keep the point. Or maybe this is only me who tired from "traditional" Prog Metal. After all, this is an album that can be easily missed, non-essential for sure, but Prog-Metal fans and THRESHOLD admirers may care. 2 and 2/3 stars rounded to 3

3.5 stars. I feel that from the "Subsurface" album right up to this one that they have kept the same formula. Riff laden with soaring vocals and lots of crunch. Most prefer these later albums as witnessed by the ratings, but I like the earlier less polished, less predictible albums like "Clone" , "Pshychedelicatessen" and "Extict Instinct". They have added some guest growling courtesy of Dan Swano on this album for two tracks. Honestly though in my opinion they do nothing to make it better or worse, they're a non-factor.

"Slipstream" has a great intro of crunchy riffs as Mac comes in, those growly vocals follow. Best part of the song is the guitar solo that starts 2 1/2 minutes in. "This Is Your Life" sounds best early in the song during the first minute. I just like his more laid back vocals and the guitar. "Elusive" opens with some nasty guitar. Nice. It becomes uptempo with riffs. More growls in this one. Excellent guitar after 3 minutes. "Hollow" is heavy to open but it settles down quickly unfortunately. It does kick back in later.

"Pilot In The Sky Of Dreams" opens with reserved vocals and piano. It becomes fuller around 2 minutes but then lightens again. The guitar is great 5 1/2, 7 & 8 1/2 minutes in. "Fighting For Breath" again has a terrific intro with riffs galore to follow. Nice guitar solo before 4 minutes. We can hear synths only 5 minutes in as reserved vocals come in as it builds. The guitar from the intro is back 6 1/2 minutes in. "Disappear" opens with piano and synths. The guitar sounds incredible throughout. "Safe To Fly" is dark to begin with as riffs come in. The chorus is pretty amazing. "One Degree Down" is heavy to open but it calms down when the vocals arrive. Great section of guitar before 3 1/2 minutes.

I have yet to hear a THRESHOLD record I think is below average, they're all good to excellent. I think the fact Mac has now left is actually a good thing, because they need a singer with more character in his vocals if you know what I mean.

'Dead Reckoning' - Threshold (6/10)

There's something about 'Dead Reckoning' that makes it seem like an archetype of a typical commercial album. The music itself isn't commercial in itself; although there are melodic choruses and a concentration on riffs, there's a certain progressive sense to rob it of any commercial labelling. It's the album itself, and there are things on it I identify with alot of other mediocre albums.

First off, there are only a handful of good songs on the album; the rest are passable but ultimately forgettable. The album (like so many pop records) starts off with the most memorable and powerful song, 'Slipstream.' After my first listen of 'Dead Reckoning,' this was the only song I could consciously remember. After a few listens, other songs, such as 'This Is Your Life' and 'Pilot In The Sky Of Dreams' started bearing fruit, but it all started with the first song.

Another aspect of 'Dead Reckoning' that detracts from a great rating is that it has a rather weak second side. With many pop records, the act of putting all of the 'good' songs on the first half of the record is intentional; the average consummer will only get through the first half or so when listening to an album. With a progressive album however, this wouldn't be expected. Progressive music listeners are notorious for taking an album in as a whole.

The weak tracks on the album (there's a fair number of them) aren't bad compositions, but just boring for the most part. As pop compositions would go, they would be great because most of the songs have really kicking choruses and hooks. On the flipside, almost all of the songs on here (even the good ones) conform to generic songwriting formula (verse-verse- chorus etc.) which is not a good thing in a prog listener's eye.

Threshold are a great band to listen to if you want something heavy, progressive, but melodic and catchy enough to keep it fun. Keeping that in mind, 'Dead Reckoning' fulfills that call for the most part. The album never sinks too low to the point of being unlistenable, but very rarely to the point of true inspiration. A good album to put on once in a while, but 'Dead Reckoning' will not be a staple of your music library.

An average album... good riffs... good lead vocals... nothing more...

Finally I can write a review without the word "great" on the headline... This is my first time I've heard this band... and even when you can really enjoy some pasages from some songs, at the end is kind of a record of chessy-pop-metal songs with some keyboards... and that's it...

Well... the players are very good and the singer has enough voice to make it listenable... maybe there's nothing wrong here... but as a prog fan, I spect to be surprise or maybe that the song could have a twist here or there... and this album is quite streight to the point... so I can hear this album, I've hear it many times and as I have a good time listening to it, I feel like it doesn't leave too much after the album ends...

This album is good for a regular mainstream metal fan... and is ideal to power metal fans... cause it's too chessy for my taste... but I repeat... I like the album... maybe 4 songs are really good but is not for their progressive moments.. this is mainstream metal... So, if you think you can like that -I know I can, not too much but still enjoy it- give it a try... I'm curious... if the other albums are like that or really offer more to the prog fans... cause I've seen some reviews some dare to call them the "UK Dream Theater"... but that's too much for this guys... at least, this album doesn't reflect that proclaim....!!! no even close, 3 star is fair...!!!

Dead reckoning is their eight studio album from 2007. Threshold needed 3 years to release this album and to tell the truth is not better then the predecesors, but not weak either. Something worth mentioning is that Threshold has albums with a constant quality, I mean every single album is good and has something to offer, one of those bands from progressive metal that realy knows to make the listner glad avery time he finishes an Threshold album. This band don't have highs and lows, Threshold has only highs from the beggining, well of course their albums never reaches the masterpiece status in my opinion, but for sure all are good, some of them great and worth investigated by everybody intrested in good music. Dead reckogning is again well made with tipycal Threshold sound, nice vocal parts made Mac Dermott, he's final studio album with them after all, pitty he was a great key to Threshold music. All the pieces stands as good, not a weak moment here, the two pieces Sleapstrem and Elusive where is invited legendary Dan Swano from Edge of Sanity are well constructed and give a special atmosphere to the album, a little more diversivity in their music was needed because their last 2 albums beggining to sound a little dated and monotonous. In the end another typical Threshold album, nothing more nothing less, a good album that desearve 3 stars, but nothing realy impressive either. Every musican did a great job here, is clear that they know bussines in progresssive metal, Karl Groom's guitar is again crunchy and yet very melodic when needed, excellent guitarist, but far away in popularity then John Petrucci, wonder why???? Even is a 3 star album Threshold remeins one of my fav bands from this sugenre, quite less popular then other acts but with a lot of potential, still they haven't run dry after more then 15 years of career.

Since releasing the excellent Hypothetical album back in 2001 Threshold have struggled to release anything that's its equal (or better). Instead they've had a run of good prog metal albums that have some fantastic moments but fall short in consistency. Dead Reckoning I'm afraid doesn't alter that trend.

There's no doubting the talent of the band who are all fine musicians and Mac's vocals are as great as ever but I think they need to take a step back and look at what made Hypothetical so special. For me it was where they got the balance just right between powerful riffs that still retained a strong hook, the keyboards had more space to shine and the melodies were fantastic. No doubt in an effort to reach a larger audience the guitars here often sacrifice melody for a more up to date less tuneful but heavier approach in an attempt to compete with the newer kids on the block. This assumption is bore out by opener Slipstream, which to be honest is pretty good but they introduce the use of death metal style growling in places which is most unwelcome and adds nothing of worth.

The first great moment comes on the third track Elusive, which despite also having some death metal style vocals is forgiven because it's such a strong riff and has an immediately catchy chorus as well as a fine instrumental break with guitars and keyboards sharing centre stage equally.

Although Threshold don't go for twenty minute epics there's always at least one track on each album around the ten minute mark where they can stretch out a bit more. The first of the longer tracks here is Pilot In The Sky Of Dreams which fortunately is another high point. From a ballad style beginning it picks up pace into heavier territory. Mac's melodic vocals are a high point as well as Richard West's keyboard work, including a powerful solo having more space and there's still room for a melodic Karl Groom guitar solo. Of the two other longer tracks One Degree Down is the better with its mid pace Zeppelin/Kashmir style riff and more classic Threshold instrumental workouts. Safe To Fly also deserves a special mention, one of the shorter songs but having a fantastic riff as well as the strongest piece on a melodic level. More moments like this and they could have been onto a real winner.

Not long after releasing Dead Reckoning vocalist Mac announced he was leaving the band. As much as he'll be missed I was pleased to see the return of Damian Wilson who sang on Wounded Land and Extinct Instinct, their first and third albums respectively. Despite this being a good, even very good and occasionally excellent in places release it would be nice to think that Wilson's return may bring some of the qualities that made their earlier albums special more upfront.

After being floored by the masterful recent 2012 album "March of Progress", I eagerly sat down to be mesmirised by more of Threshold's power metal with astonishing musicianship and awesome vocals. Unfortunately "Dead Reckoning" does not measure up at all. This album does have some excellent songs but are not as consistently masterful as their latest album. It is sad that vocalist Mac passed away after this album, as he has incredible range and injects real power into the songs. It is hard not to be moved when I hear him sing "This is your life, this is your world and everything that you've been trusted with is small in your eyes". I could have done without the annoying growls of Dan Swano that thankfully was only on two tracks. His interjections are worse that Mike Portnoy growling with Dream Theater.

Let's talk about the songs themselves. It begins with the uplifting riffer 'Slipstream', a real fiery opener, then moves to more mainstream sounds on melodic 'This is Your Life', and 'Elusive', that has a strong riff from Groom with Mac's wonderful vocals, and especially features extended lead and keyboard tradeoffs. Nothing though so far is outstanding, just decent melody driven songs and some nice instrumental breaks.

'Hollow' is one of the shorter tracks, beginning with haunting atmospheres, piano and breaking out into melodic heavy rock. The harmonies in the chorus are easy on the ears, but I love about this are the rasping riffs and the memorable chorus. It is the first shining moment on the album that just jumps out, although it is nowhere as heavy as the other tracks.

Time for a prog epic and it comes with 'Pilot In The Sky Of Dreams' clocking almost ten minutes. It begins with a slow measured temp and more heartfelt vocals, very sad knowing Mac is no longer with us. The lead guitar break is soaring and replete with Groom's stirring string bends. The pace quickens with a new time sig, and the lyrics are emotional, "can you promise me the world and everything I need, so it's safe for me to fly." The keyboard takes off into full flight and is followed by strong melodic vocals and incessant riffs. This is a definitive highlight on this album.

'Fighting For Breath' continues in the same vein, lengthy and melodic with some heavy riffs. The vocoder vox are cool, and the harmonies on "don't you stop me now" remind me of Queen. Again this has a great keyboard solo but it is cut off before it goes anywhere in the creative department. The lead guitar to follow is better though. I think the band are far better when they are allowed to just launch into jams and lengthy instrumental breaks. Eventually the music settles into a lulling ambience which is dreamy, and joined by some gentle vocals. The ending is an instrumental freakout and certainly makes this another highlight.

'Disappear' follows that is profoundly sad knowing the fate of the singer. It launches with heavy riffs and locks into a choppy rhythm. The lyrics, "mesmirise, purify, close my eyes, till I find the door, and you let me in," have a sense of melancholy power. The lead break is soulful and moves into some inspired melodies.

'Safe To Fly' is driven by symphonic keys and power chords. The verses are delivered gently along a sea of reverb clean guitar. The lyrics are potent, "Sometimes I think I'm going nowhere at all, stuck in the shelter with my back to the wall, so I'm taking my time and I'm not going out until it's safe to fly." This is nice song with infectious melody and resonates with me due to the lyrics and the way it is structured.

'One Degree Down' closes the album with 8 and a half minutes of heavy prog. The riffs crash in immediately in the intro sounding like Dream Theater then it moves to a jumpy rhythm. Mac sounds vibrant as usual, and the melodies are strong leading to a chorus hook.

Overall the album tends to get better the deeper in we go, but it is not really a consistent effort, with only a few songs that are as good as anything on "March of Progress". In any case, it is a decent metal album, worth a listen but I know Threshold are capable of so much better and I will continue to go through their back catalogue as I am really impressed with this band.

OK, let's address the elephant in the room: this was Andrew "Mac" McDermott's final album with Threshold. With five studio albums under his belt at lead vocalist, he set a record in the role that still hasn't been beat (Damian Wilson was on four but then left again, and Glynn Morgan is on three at the moment). And unfortunately, there will never be another Threshold studio album with mac on lead vocals - because he died tragically young in 2011, after an illness which so far as is known was a total shock to his former bandmates, adding grim irony to the title of this album.

Mac made no secret about his reasons for leaving: the statement he released at the time stated plainly that his work with Threshold just wasn't paying the bills, to the point where his girlfriend was having to work overtime so that he could afford to go on tour with them, and he was fed up of having no money and passing up better-paying opportunities due to the demands of being the Threshold frontman. This may seem shocking to some, but we should all remember that not all the musical acts out there earn masses of money - especially in niche genres like progressive metal. Sure, the other members seem able to make ends meet, but how many of them have been able to supplement that with side hustles, like Karl Groom's work as a producer at his Thin Ice Studios facility?

One has to wonder whether Dead Reckoning might itself be the product of Mac (and maybe other members of the band) feeling something of a pinch, because it feels like an attempt to steer the band's sound a bit away from the "prog" side of their sound and a bit more towards a more conventional "metal" approach. It's not a complete reconfiguration, mind - Pilot In the Sky of Dreams, in particular, is as prog metal a workout as they've ever done, and the guitar solo at the close of One Degree Down sounds an awful lot like a tribute to The Black Knight by Groom's pals in Pendragon.

Still, there's heavier riffs and a few harsh vocals this time around, when previously they'd consistently been a clean vocals band, and in general an air of a band in transition, perhaps not altogether sure of where they are going. Dead Reckoning is, after all, a term from navigation - perhaps the band not too subtly signalling that Threshold were dabbling with changes of direction here.

It's frequently been the case that I've tried out a Threshold album I've not heard before, not been too sure about it early on, but found that it's won me over the span of it - aside from Hypothetical and Subsurface, their album openers generally don't grab me. The effect is stronger than ever here, with opening numbers Slipstream and This Is Your Life doing little for me and the album only really beginning to click for me from Elusive onwards. The back part of the album makes up for the shaky start, however, though equally I find that Mac's vocals here are comparatively unmemorable set next to his excellent work on the run from Hypothetical to Subsurface, lacking the passion he'd proved himself capable of previously.

"Dead Reckoning" was released in 2007 under the Nuclear Blast label, marking a shift for Threshold from their long-time relationship with InsideOut Music. The album was recorded at Thin Ice Studios and produced by Karl Groom and Richard West, who are also key members of the band. The cover art was once again designed by Thomas Ewerhard, whose sleek and abstract imagery complements the darker tone of the album.

Stylistically, "Dead Reckoning" continues Threshold's tradition of progressive metal, but with a heavier, darker edge compared to their earlier works. The album incorporates more aggressive guitar riffs and utilizes some growling vocals on tracks like Slipstream (featuring Dan Swanö), which is a departure from the clean, melodic approach seen on albums like "Subsurface" (2004). Andrew "Mac" McDermott's vocals remain clear and powerful, but the overall tone of the album is more somber and intense.

In terms of quality, "Dead Reckoning" features high-level musicianship and production, typical of Threshold's meticulous standards. However, the album's heavier direction sometimes feels forced, particularly for a band known for balancing heaviness with melody and progressive structures. While the album showcases technical proficiency, some songs lack the memorable hooks or emotional depth present in earlier works.

The album's heavier approach is a notable change, but it doesn't always feel cohesive with the band's melodic core. Nevertheless, it earns a solid three stars for its high production values and moments of brilliance, but the shift toward a heavier, more aggressive sound weakens the overall cohesion of the album in my opinion in comparison to superior albums like "Clone", "Hypothethical" or "Critical Mass".

Best Tracks: This is Your Life (it offers a perfect blend of melody and complexity, with emotional lyrics and captivating instrumentation), Pilot in the Sky of Dreams (some kind of neo-progressive epic, filled with soaring melodies, intricate arrangements, and a dramatic arc that stands out on the album) and Fighting for Breath (which combines heavy riffs with melodic depth, showcasing Threshold's ability to weave technical skill with emotional intensity)