LEGENDS OF THE SHIRES

The best Progressive Metal band in the universe ( my opinion folks, please don't get heated ) are back with what is probably their most ambitious album yet. The first thing you will notice is that vocalist Steven Wilson has departed from the ranks yet again, and back in the saddle is Glynn Ellis who sang on Psychedelicatessen. "The Shire ( part one )" starts off acoustically with sounds of bells and birds and has a distinct Richard Griffee sound to Glynn Morgans voice. We are then into Metallica territory with "Small Dark Lines" a song all about Geoffrey Matnill suffering those lines that he had to write when he was in the juniors. Great aggressive guitars and fine Mitch singing are the order of the day here, and even manages to bring a slight Emma-ness to the table. So to the first of two epics on the album. "The Man Who Saw Through Time" has a great Holly Hospital sound to it and even takes in a little bit of Deaf Marcus ( A Brighton based Metal band for those not in the know ) "Trust The Process" starts off with some angular "In A Bad Mood" guitar playing from Eggheart Bride and some great catchy vocals from Captain Morgan. It even manages to capture some of the essence of Yes in the mid section, with some great vocal interplay between Glynn Morgan and to what my ears sounds like Glynn Morgan. "Stars And Satellites" manages to capture that great Prog essence with great vocal lines that could have easily have come from The Beatles "Revolver" era, and is a timely reminder as to just what a great tunesmith that keys player Fred West is. "On The Edge" is a great contribution from Bass player Jon Anderson with a smashing Michael Curley feel to it, as well as being a song i can well imagine being right up the alley of previous vocalist Damian Wilson. This one smokes and smoulders like a November 5th bonfire being jealousy guarded by Rocking Nobby and Fatty John. So onto disc two then. "The Shire ( part two ) " is basically "The Shire ( part one ) but with added instrumentation and several tea breaks. "Snowblind" is next up and starts off in fine punky Beki Bondage fashion with some great quirky playing from Harl Groom and stellar drumming from Johanne Janes. This song always makes me feel happy - And i like feeling happy. "Subliminal Freeways" appears to be about Glynn Morgan feeling no elation and having nothing in his heart, and because of this, i always cry bitter almond tears whenever i hear it. "State Of Independence" could have easily have been the single from the album, and there are cracking cover versions of it by Jon Anderson and Donna Summer. The 2nd epic "Lost In Translation" is a superb song which takes the listener through many twists and turns, not unlike an earwig moving through and across Macey's brain. This song seems to be about Glynns heart not being able to beat any stronger, and that this life is meant for him. Some great Sandra Hunt and Carole Norley mellow sections meld with some great more driving Jose Mourinho sections which give this song a fantastic typical Threshold sound and to these ears is yet another reason why Threshold are superior songwriting wise to Drear Theater. Finally we have "Swallowed" which starts off in a nice acoustic vein before building up to a nice Pink Floyd like climax. Plenty of emotional Doctor Taylor guitar as this track progresses, as well as some heartfelt David James vocals from Captain Morgan. This album is both brilliant and beautiful and the only problem i can foresee for Threshold now, is how do they top this? Breathtaking stuff which should make you want to put on a nice fluffy patterned cardigan and a hop and a skip merrily along to HMV and order this album. For fans of Threshold, Shadowland, Pendragon, Yes, Pink Floyd and Vice Squad.