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THRESHOLD

Progressive Metal • United Kingdom


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Threshold picture
Threshold biography
Formed in 1988 (Surrey, UK) -

One of the founders Karl Groom is perhaps the leading man in this band. He's also known from such bands as LANDMARQ, PENDRAGON and SHADOWLAND. The band has gone through several line-up changes to find the perfect band. It would be too intricate to describe the line-up changes here, so it's included in the discography.

In 1993 their classic debut studio album saw the light of day. It was called "Wounded Land" and was released on the GEP label. And from then on they have gained a lot of good reviews from all around the world. Their follow up "Psychedelicatessen" (1994) reached 5000 in advance sales the first week. Impressive for being a progressive metal band. Since then they have made "Livedelica" (1995), "Extinct Instinct" (1997) and their best album up to date: "Clone" (1998). This new release is a concept album, which re-insured their place as one of the premier bands in this genre.

Today they are one of the most well known progressive metal bands around. A very good hard Progressive music.

- Greger Rönnqvist

Threshold official website

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Legends of the ShiresLegends of the Shires
Metalville 2017
Audio CD$16.78
$16.67 (used)
Legends of the ShiresLegends of the Shires
Imports 2017
Audio CD$16.43
PsycedelicatessenPsycedelicatessen
Import
Nuclear Blast Int'l 2012
Audio CD$6.62
$10.53 (used)
Subsurface: Definitive EditionSubsurface: Definitive Edition
Import · Limited Edition
Nuclear Blast Int'l 2012
Audio CD$6.63
$20.51 (used)
European JourneyEuropean Journey
Metalville 2015
Audio CD$11.00
$8.00 (used)
For The JourneyFor The Journey
Import
Metalville 2014
Audio CD$6.99 (used)
For the JourneyFor the Journey
Import
Metalville 2014
Audio CD$7.49
$13.82 (used)
Critical Mass: Definitive EditionCritical Mass: Definitive Edition
Import · Limited Edition
Nuclear Blast Int'l 2012
Audio CD$5.73
$9.71 (used)
Hypothetical: Definitive EditionHypothetical: Definitive Edition
Import · Limited Edition
Nuclear Blast Int'l 2012
Audio CD$12.47
$10.66 (used)
Right Now on Ebay (logo)
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THRESHOLD discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

THRESHOLD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.82 | 149 ratings
Wounded Land
1993
3.55 | 138 ratings
Psychedelicatessen
1994
3.67 | 135 ratings
Extinct Instinct
1997
3.74 | 130 ratings
Clone
1998
3.97 | 251 ratings
Hypothetical
2001
4.07 | 257 ratings
Critical Mass
2002
3.94 | 228 ratings
Subsurface
2004
3.63 | 206 ratings
Dead Reckoning
2007
3.98 | 393 ratings
March Of Progress
2012
3.71 | 112 ratings
For The Journey
2014
4.17 | 56 ratings
Legends of the Shires
2017

THRESHOLD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.40 | 27 ratings
Livedelica
1995
3.67 | 23 ratings
Concert In Paris
2002
4.05 | 49 ratings
Critical Energy
2004
3.28 | 27 ratings
Surface To Stage
2006
3.50 | 13 ratings
European Journey
2015

THRESHOLD Videos (DVD, Blu-ray, VHS etc)

4.50 | 37 ratings
Critical Energy (DVD)
2004

THRESHOLD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.82 | 14 ratings
The Ravages of Time: The Best of Threshold
2007
2.39 | 9 ratings
Paradox - The Singles Collection
2009

THRESHOLD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.94 | 17 ratings
Decadent
1999
3.52 | 27 ratings
Wireless - Acoustic Sessions
2003
3.42 | 18 ratings
Replica
2004
4.18 | 11 ratings
Pressure
2006
2.61 | 12 ratings
Pilot In The Sky Of Dreams
2007
2.10 | 12 ratings
Supermassive Black Hole
2010
5.00 | 7 ratings
Lost In Translation
2017

THRESHOLD Reviews


Showing last 10 reviews only
 Legends of the Shires by THRESHOLD album cover Studio Album, 2017
4.17 | 56 ratings

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Legends of the Shires
Threshold Progressive Metal

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

5 stars The leader of the British Prog Metal is back with a big double album of gorgeous melodies crafted by talented musicians including the solid vocals of Glynn Morgan back in the band after more than 20 years. His voice is more delicate than the last 2 Threshold vocalists and suitable for that kind of music. The album starts with a beautiful ballad. The second track delivers again the talent of Karl Groom on guitar who knows how to create some emotional guitar solos. The 11 minutes "The Man Who Saw Through Time" start and finishes with some Kraftwerk techno effects sounds starting as a ballad and developing into a typical Threshold metal structure. "Trust the Process" show some multi-parts vocals that the band has used a lot in the past and then let a lot of space to Richard West on keyboards. "Stars and Satellites" is very melodic and show some guitar riffs that remind me of Rush. "The Shire" part 2 is linked to the first part with his peaceful atmosphere letting the vocals and the acoustic guitar take the spot. In the second part of "Lost in Translation", we can hear the influence of Pink Floyd when the band brings things down with some Gilmour guitar style passage. The production as always is perfect here using the latest technology with some short electronic sounds giving new textures to the sound. Karl Groom manages to reinvent his guitar palette at times. Threshold could give you some lessons to how to compose great songs that are good from start to finish., not complicated, but deep enough to require many listenings. Yes, there is still some repetitive chords in this music, but with this double album, the band has the freedom to expand their sound a bit if you know well the band's music.
 Legends of the Shires by THRESHOLD album cover Studio Album, 2017
4.17 | 56 ratings

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Legends of the Shires
Threshold Progressive Metal

Review by Threshold

5 stars Threshold's first double album and a second concept one sees the return of the old frontman Glynn Morgan into the fold. Before anyone opens up an argument about their favourite singer I have to say that although we all disagree who the best (technically or emotionally) out of the three is, one thing we should all agree on is that Damian, Mac and Glynn have extremely recognisable tone to their voices and in that respect were all original and unique vocalists who left their mark in Threshold's history. Structurally, music picks up where The Box left off, bringing a new level of refinement into the writing.

The pastoral opening of the The Shire introduces us to the concept of the story, then swiftly moves on to Small Dark Lines, a fast paced opener in which Glynn shows off a typically rough edge to his voice.

The Man Who Saw Through Time is a monumental piece, sonically very dynamic, with stacks of prog elements throughout. An engaging instrumental section is spiced up with exquisite guitar accents, where everything flows seamlessly. A hugely relatable leitmotif binds it all together while taking us on an delightful journey.

Raw, upbeat energy of Trust the Process explodes onto the scene, sweeping you along with a heart-wrenching guitar harmonies. The richness of the passages peaks with the lavish dialogue between the singer and the backing vocals, so pleasing to the ear the entire song leaves you utterly entranced.

Stars and Satellites paints a harmless picture, other than Glynn's occasional gravelly bite. That is until the middle section thunders in - what an astonishing pounding of notes, sort of Extinct Instinct style - both progressive and eccentric. The guitar solo that follows is by far the grooviest one Karl's ever done, the whole thing's got this bounce and freshness, I wish it lasted longer.

Steve Anderson's debut On the Edge contains all the typical Threshold elements - tempo changes, melodic chorus and a coda, it's the pre-chorus that is of an unusual jazzy background.

The Shire (part II) starts off with a delicate acoustic, before opening up into a big chorus. Its deceptive simplicity masks elaborate framework underneath the main melody. Every note feels mindfully placed in just the right order.

Pent-up passion gets released in Snowblind, a tune with the most linear narrative they've ever written. As we move from one segment to another the music keeps on expanding, never looking back and evolving in an incredibly organic way. The guitar parts are fundamentally woven into the song's fabric and are some of the finest I've heard, culminating in the absorbing solo that melts into your being.

Subliminal Freeways is of a disheartened nature, while the ballad State of Independence lyrically depicts both sides of the Brexit argument. Glynn's got an appropriate rasp in the chorus and an almost feminine sigh towards the end.

Superior Machine goes back to the roots of Clone, with more straightforward metal chords and the vocals which devour the verse.

Like a misty drizzle The Shire (part III) quietly descends upon us with its melancholic yet soothing quality. Having Jon Jeary back singing gave it additional gravitas.

Lost in Translation unfolds as a timeless classic from the very first tone, portraying such majestic landscape and spilling out into the vastness of space. It flows smoothly and although grand it shows poise and light touch. It's so polished that previous albums feel crude in comparison. The guitar's answering phrase is deeply evocative and the surrounding sustained notes are simply dreamy. You feel as though the intricate instrumentals swirl all around, restoring inner peace.

The theme we heard earlier on comes back as a reprise in Swallowed, this time with the biting cynicism as the protagonist unveils the truth and sees the system for what it really is.

Legends Of The Shires is a substantial release, wherein they mastered the art of harmony further. It's propped up by a myriad of extraordinary sound effects, where even transitions between the songs add another dimension to this musical realm. Seemingly disruptive line up changes represented no challenge to this band, as the music speaks for itself regardless of who is behind the microphone. The story bears many parallels and can be understood personally as an evaluation of one's position and purpose in life, as well as through a political prism of isolation and morality. What sets this album apart is a stupendous variety of styles that gel quite naturally and create this complex tapestry that keeps the listener enthralled, as with each spin another layer of its soundscape gets absorbed. Breaking new ground whilst staying true to their sound, the innovative blend of masculine riffs with alluring melodies and profound philosophical lyrics have always been Threshold's hallmarks. 'And the wind blows'... back into Threshold's sails once more.

 Lost In Translation by THRESHOLD album cover Singles/EPs/Fan Club/Promo, 2017
5.00 | 7 ratings

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Lost In Translation
Threshold Progressive Metal

Review by Progrussia

5 stars This is apparently a lead-off song from the upcoming album, Legends of the Shires. And judging from it, after the more subdued and AOR-oriented For the Journey, we'll see a lot of the classic mid-period Threshold sound - epic hard rock with Pink Floydian breaks and melodic solos. And Threshold may also hold the distinction of having not only one, but two former vocalists returning to the mold (this time - Glynn Morgan). But despite the differences, they all suit this kind of music well. The 10-minute Lost in Translation may be the quintessential Threshold epic, if not for all the others. But despite the formulaic structure, it sure is catchy.
 European Journey by THRESHOLD album cover Live, 2015
3.50 | 13 ratings

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European Journey
Threshold Progressive Metal

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars A lost opportunity

When I first heard that Damian Wilson had returned to Threshold I was very pleased as he is by far my favourite Threshold vocalist. Given that Wilson is back in the band I expected them to perform a set list packed with songs from the band's early days, particularly from the two first Wilson-fronted albums Extinct Instinct and Wounded Land. As it turns out, however, this expectation could hardly be more wrong. With the sole exception of Part Of The chaos (taken from my favourite Threshold album Extinct Instinct) the whole first decade of the band's history is sadly completely ignored here!

Instead there is a very heavy emphasis on their most recent albums to date with no less than nine out of the total 15 songs coming from their two most recent albums: 2014's For The Journey and 2012's March Of Progress. Two songs each are further taken from the two albums before that: 2007's Dead Reckoning and 2004's Subsurface. While it is certainly interesting to hear Wilson tackle some of the songs that were originally sung by the late Andrew "Mac" McDermott, I think it is a shame that they chose to overlook their early material. In my opinion, the band's first four albums are also their best. Of their more recent songs only Pilot In The Sky Of Dreams is really excellent.

In sum, European Journey is something of a lost opportunity to create a really good live record, and there are other live albums by the band that are better than this one; foremost among them being Critical Energy, which has a much more interesting set list.

 Supermassive Black Hole by THRESHOLD album cover Singles/EPs/Fan Club/Promo, 2010
2.10 | 12 ratings

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Supermassive Black Hole
Threshold Progressive Metal

Review by Insin

3 stars To accompany the re-release of 2007's Dead Reckoning, complete with instrumental versions of each song, Threshold put out a digital single featuring a Muse cover and an edit of one of their most popular songs.

Muse's styles span multiple genres, including but not limited to hard rock/borderline metal, orchestral prog, grunge, electronic (on some later occasions), and pop. Supermassive Black Hole falls in the last category, but Threshold makes it properly heavy, although they don't work their progressive magic on it. Verses feature distorted guitars, effortlessly transitioning into the pre-choruses with spacey, smooth keyboards. Mac is not able to pull off Matt Bellamy's falsetto and his voice is less suited to the song, but he puts more feeling into it than Bellamy does. They did not at all alter the solo (can it really be called that?), disappointingly enough. Muse gave little thought to that portion, and Threshold did not seek to fix it. Overall, however, they've improved the song, turning Supermassive Black Hole from a radio-friendly hit to something you can actually headbang to.

The other track on the single is an edit of Slipstream, the first song from Dead Reckoning. It is one of two Threshold songs containing harsh vocals (the other is Elusive, from the same album), and they have turned the growls into an electronic robot voice. It's been shortened as well, by a whole minute and a half, as a result of removing the ending and many of the instrumental parts. It follows a more predictable structure now and has lost much of its "progressive" feel. I think I'll stick to the original this time.

It seems almost as if some of the characteristics of the two songs have been switched with each other, the cover becoming heavier and a little bit more progressive (due to the sudden shifts between distorted guitar and keyboard) and Slipstream's shortening and cutting back on the prog elements.

The single is worth a listen for fans of the band who also enjoy Muse (or are at least familiar with Supermassive Black Hole), and a novelty for other Threshold fans. Whichever group you're in, it's a good way to kill six minutes.

Originally posted to www.metal-archives.com

 For The Journey by THRESHOLD album cover Studio Album, 2014
3.71 | 112 ratings

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For The Journey
Threshold Progressive Metal

Review by javajeff

5 stars I was blown away when I first heard March of Progress, and most people should also have the same response. For The Journey did not hit me the same way, but after a few listens, I can tell you this album is equally excellent in it's own way. This band is definitely a stellar Progressive Metal band that everyone should be excited about. They are doing everything right, and this lineup will hopefully stay in tact for years to come. Damian Wilson's vocals on March of Progress and For The Journey are superb, and I could not see this band with anyone else at the mic. If you love progressive metal or enjoy previous Threshold albums, this is a must buy. Make sure you buy the version with the bonus tracks, because I Wish I Could is one of the best songs on the album.
 Wounded Land by THRESHOLD album cover Studio Album, 1993
3.82 | 149 ratings

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Wounded Land
Threshold Progressive Metal

Review by Losimba

4 stars I admit that Threshold is one of my two favourite bands, the other being Celtic Rock veterans Runrig. For those who think "Huh?", I would have guessed that Runrig are included in the Prog Folk section of this site, but there are also some similarities between them and this album. The obvious one is the focus on environmental topics, but some of the melodies could easily feature on Proterra, the heaviest Runrig album, of course minus the double bass drum and with less distorsion in the guitar riffs. Keep It With Mine wouldn't even need any change at all (and I'm pretty sure Bruce Guthro would fit in as well as Damian Wilson does).

Even apart from that, Wounded Land is a really strong debut album. The rhythm section is solid, the guitar parts show great variety and the keyboards, while used relatively sparingly, leave their impact in the necessary places. The songwriting gives a clear impression of what is to follow in the later albums, it is consistent without getting boring. Needless to say that there is no weak song. Add in the deep lyrics (which are in no way ridiculous as another reviewer suggests, there are more than enough prog bands with fantasy as their only topic) and there is one of the best albums of 1993. The highlights for me: Paradox, Surface To Air with its extra moment of genius in the final chorus which makes it one of my Threshold top 5 songs, and the aforementioned ballad Keep it With Mine.

I don't want to throw around 5 stars too easily, so I go for 4.49 for now which may be edited to 4.51 later. By the way, the 1993 Runrig album Alba contains some really good songs, but is summa summarum considerably weaker than Wounded Land.

 For The Journey by THRESHOLD album cover Studio Album, 2014
3.71 | 112 ratings

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For The Journey
Threshold Progressive Metal

Review by Nightfly
Special Collaborator Honorary Collaborator

3 stars Perhaps because March Of Progress was such a strong album and a great return to form for a band that while never less than good, had been treading water for the few previous releases, I was initially a little disappointed with For The Journey. A few plays failed to ignite any great enthusiasm and it sat on my shelf unplayed again for a few months until now. Revisiting it has left me pleasantly surprised; perhaps as I'm returning to it with no expectations it's actually much better than I originally thought.

For The Journey is the second album since vocalist Damian Wilson's return and once again he turns in a fine performance with a strong ear for a good vocal melody. Musically it's their typically melodic prog metal with a number of up-tempo songs, an unexceptional ballad and The Box is the obligatory epic. Whilst there's nothing wrong with The Box, there are no great surprises and there are many better ones, Critical Mass for example, scattered throughout their previous nine studio albums. Much better are the opening two tracks - Watchtower On The Moon with a great driving riff and a strong melodic half tempo chorus. Unforgiven is darker and more dynamic with a strong hook - classic Threshold at their best. The other killer is Siren Sky for its slow brooding riff.

Anyone who's familiar with Threshold will know what to expect. The musicianship is as always spot on and the production typical Karl Groom and Richard West, powerful, clear if a little clinical. Overall a very good album with a few unexceptional tracks robbing it of great status. For The Journey sits in the middle of the league table of Threshold albums. 3 ½ stars.

 March Of Progress by THRESHOLD album cover Studio Album, 2012
3.98 | 393 ratings

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March Of Progress
Threshold Progressive Metal

Review by tszirmay
Special Collaborator Crossover Team

4 stars That's it, it's the end of the world as we know it! Topsy bloody turvy! Yours truly, famous for having a huge collection devoid of any Dream Theater, Mastodon, Tool, Messhugah, etc? and looking at the Tech/Extreme prog-metal section of PA and going, what is this? has finally decided to give the chugga-chugga a chance. Up to now, my prog-metal was revolving around Roswell Six, Queensryche, Ayreon, Mastermind, a single Shadow Gallery album , a single Iron Maiden recording and Opeth's very soft "Damnation". Pfff, limp, I know. Well, I always felt that metal was like jazz and blues, it needed to be a live experience to be truly enjoyed. So I decided that in my golden age, I was going to prove to myself that I can rock, hard and long (LOL) with headphones on. So I got hooked up with a few vids, read a few glowing reviews and really liked "Ashes" as well as "That's Why We Came", certainly enough to pull the amazon trigger. I knew of Damian and Karl from their associations with the more neo-heavy prog scene but the rest were revelations, especially drummer Johanne James kicking some serious butt. The mail was particularly rapid as my CD arrived within a few days, here in the country music hotbed that is Calgary (stop giggling, you silly cowboys) and I wasted no time in getting cranked up and harassing my neighbours with torrential guitars. So I downed a case of Red Bull, swallowed 12 Viagra pills, united 'March of Progress" with my vintage Danish Bang & Olufsen system and my girlfriend's funeral is now set for mid-week!

The terrific "Ashes" pummels forth, slicing through the sweltering synths and getting all bothered up, the guitars hammering fast and hard, with Damian Wilson soaring like some leather-lunged oil-rigger on speed. There is nothing innovative here really, nor is it particularly scary, just tightly played prog-metal of the highest melodic content possible. In fact, it comes across like Maiden with a keyboard player! But what do I know, being such a novice at this type of head-banging stuff. I deeply enjoyed the wah-wah solo from Groom or is it Morten? a trait that is sorely missed in the more conventional neo-symph-crossover shrines that I pray to. Any music fan would enjoy this opening blast.

The more mid-tempo steamroller "Return of the Thought Police" is not only a highly reflective piece with serious subject matter but the music is nuanced enough to attract the simpletons as well as the technocrats. The dual guitar hammer solidly, the keys bubble and the drums pound mercilessly. 'I promise you', he says!

"Staring at the Sun" is lethally sharp and honed, as if a condemned man is looking up at some out of control guillotine and wondering when the basket will fill with his blood. The keys offer both eerie piano and bubbling synths, bullied by the screeching lead guitar solo that punches ahead. Damian Wilson can sure sing high notes, BTW!

"Liberty Complacency Dependency" is shorter on melody and more focused on blasting away in a different style that I find has always been my difficulty with metal (it's too smart for its own good at times) , somewhat in contrast to country in that it's not smart enough for its own good! I understand that this style is more attuned to the dedicated rockers out there.

"Colophon" is a more like it, a moody rocker that shuttles forward with interesting breaks, some piano and clanging guitar providing a different doom-laden vibe. By this time, I find myself tiring from all the pummeling. Thankfully, "The Hours" comes to the rescue, a cinematographic epic that transcends the power rock formula by offering a more diverse palette of sound, thrashing guitar onslaughts notwithstanding. Damian is more down to earth here, mellifluous and yet bold, a studied exercise in prog-metal singing. The instrumental break buzzes with dual guitar electricity and a hint of classical symphonics, a track that I enjoyed very much.

The video for "That's Why We Came" is what hooked me, an ultra-stimulating melody that sticks from the very first note, reminding me more of Roswell Six's classic first album. Wilson again displays intense versatility. A real cool melody that could have easily been on an Arena album, standard melodic genius and perfect delivery.

The tortuous "Don't Look Down" is a sly little devil, starting out quite conventional (Read: boring) before evolving into a sensational level of contrasting sections , alternating between heavy and light, complex and accessible, stop/starts on a dime, shifting riffs and blustery axe solos. A bloody whirlwind that took me by surprise. I did look down, in shame, blast!

Peter Morten's comp "Coda" is described as a Judas Priest-like tune (I don't know Judas that well but I do like leather, lol), machinegun-like attack, careening drums, explosive bass and a rather hysteric vocal. Hmm, not bad, maybe I should check out Priest, wot? Definitely, off the beaten path.

The 10 minute epic "Rubicon" is the final nail in my ignorant coffin, a sublime piece dedicated to that moment in everyone's life when indecision is relieved by the urgency to act, a decision to throw caution to the wind and take the plunge into uncertainty. Julius Caesar did it ("alea iacta est") in 49 BC, crossing his XIIIth Legion and thus forcing Rome's hand, passing the point of no return. This is the 'prog' part of prog-metal, using historical inspiration to write thunderous music. A bloody brilliant church organ segment really highlights the imperial bombast, as centurion Damianus Wilsonus bellows to the Coliseum faithful, thumb raised upward. The torrential guitars bluster, like a victorious legion returning from battle.

This megalodon album has sharp teeth, primal yearning and a relentless temperament that has ravaged my misgivings about prog-metal, offering a tantalizing platform to admire the lethal attributes this genre occasionally provides.

4 Evolutionary strides

 For The Journey by THRESHOLD album cover Studio Album, 2014
3.71 | 112 ratings

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For The Journey
Threshold Progressive Metal

Review by buddyblueyes

4 stars The Snickers of Progressive Metal.

Damian Wilson could sing about pomeranian puppies playing pattycake in the poppy fields and sell it in a way that would make the most ferocious, die hard metal fan ferris wheel their brain pan with school girl delight. For The Journey is Threshold 's sophomore follow up to March Of Progress, which found the band reuniting with Wilson after a long hiatus. March of Progress was a great title for an album that essentially got listeners fired up for revolution, ready to take the mutinous stance of opposition against big government, politics, and the economical greed of "the man." With pitchfork and torch in hands we were expecting the next vigilante theme song, the soundtrack for headhunting the 1%-ers throughout the world. For The Journey, however, leaves us standing confused amongst the ranks, without sonic leadership. The themes for this album were a little darker, more obscured and less abrasive. "Soft" you ask? Nah, there's a new facet, a dark creepy factor is ominously present, especially with songs like "The Box" or "Autumn Red." The lyrics are still somewhat fueled by malcontent and angst, like the previous release, but also foresee the barren, post-apocalyptic landscape -- the fallout, the aftermath. Perhaps Frank Herbert got it right with Children Of Dune: the blossoming of every revolution already contains within it the seeds for it's own destruction, even if victorious. [note: don't read that statement while stoned or you'll ponder the complexity and forget to breathe for a duration which may cause you to black out.]

Threshold is a band that understands their "sound" and there's a specific direction and philosophy that has remained strongly consistent throughout much of their discography. They have solidified their position as one of the best prog metal bands out there, having catchier lyrics, hooks, and melodies than the countless Dream Theater clones (and perhaps even DT themselves!). Threshold remains the most accessible of the prog metal acts. They stay laser-focused on proven song structures and formulas, but it's done so well you find yourself not asking for something experimental. It works. It satisfies. It's the Snickers of progressive metal.

For the Journey is another solid release. The musicianship is superb. There's a quiet reserve about the musicians that hint at a skill set that can easily keep up with the most young, tech/extreme bands out there. But Threshold is mature enough to ask: why would they want to? What's the point? Do they spotlight themselves or the song? The songs take priority. Period. Not to say there's not some dynamic playing, though, just check out the drum break at 3:35 of "Autumn Red" if you're questioning the chops. A few extra spins concludes this release fares up there with March Of Progress. Now if the guys can only make their way to the US for some touring! That would make this reviewer happier than pomeranian puppies playing... well, you get the point.

Wishful concert band pairing: Pagan's Mind.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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