Threshold may not need introduction. After all they are a long-standing band with a pedigree of eight albums prior to this one. Their music seems on the face of things to be straightforward, but the more you look into it, the more sophisticated it is. The songs are strong and coherent but develop in a far from simple way. I am reminded frequently of classic melodic pop / rock structures but the development is akin to progressive music with its technicality and even power metal. The vocals are strong and clean, and the lyrics can be incisive. Threshold tracks are memorable. They capture you. It is clear that they are still fertile with ideas. The new album “March of Progress” is around 70 minutes long.
This album is as smooth as ever and typically catchy with a metal edge. Damian’s distinctive voice adds to the splendour of the occasion. The lyrics have weight. A familiar pattern is emerging right from the first track. There’s an irresistible jollity about it. It’s harmless which can have minuses if there’s no backbone or substance, but there is. A good synthesised sound adds a layer. “Ashes” develops into a crunchy song. “Return of the Thought Police”, the second track, is slower and whilst inevitably catchy and memorable, its formula will be familiar as it enters into anthemic territory. There have been no surprises so far, apart from the unobtrusive but welcome synthesised support. “Return of the Thought Police” again borders on pop. The keyboard buzz gives it extra power. The rhythm is strong. The lyrics have a kind of power metal element but with a message: “We can surrender to the corporate view”. It’s not threatening and never too deep or political. Threshold score by taking their songs to another level all the time. After the striking “Staring at the Sun”, a kind of funk rock track with space for delicate touches, “Liberty Complacency Dependency” goes large. A dark and echoey background complements a strong melodic line. The dramatic touch has the faint air of a musical but it’s the timing and fluidity which are most striking. Excitement and intensity build up. The changes of pace are noteworthy as the track sways from one electrifying section to another. This lot sure know how to control a song.
Being an old timer, I am reminded so much of Manfred Mann’s Earth Band both vocally as Damian can sound like Chris Thompson and atmospherically. “Colophon” is a magnificent track, reaching to the senses and emotions and reaching the heights. “Won’t go anywhere …. and no-one cares”. It’s all in the timing. Climax is reached without apparent effort. Again this is musical electricity. The rhymes are perfect and that timing is immaculate, but there’s still space for progressive passages. “Did you do all the things that you wanted to do?” … it’s very personal, as if we’re being spoken to. It’s enriched by magnificent and occasionally heavy guitar passages. The technique is to implant memorable riffs and lyrics, go away and bring it back. It’s a classic pop and rock technique but it’s brilliantly done and highly imaginative. All the time I heard pop-like songs with punchy riffs, strong melodies and guitar lines. I wasn’t so keen on “That’s Why We Came”, a soft melodic track but it’s strong on harmony as usual and I do respect the captivating beat and colourful instrumental work.
“Don’t Look Down” is the title of a song from 1981 by a little known band called The Planets but this isn’t it. Such trivia aside, the Threshold version has a dynamic beginning and is a dramatic song, culminating in an emotion-sapping guitar passage. This is what Threshold are so good at. A treat lies behind every corner. The harmonies are second to none. This music is on so many levels. I could draw comparison with Pagan’s Mind but I guess that’s because it’s so big and anthemic. “Coda” takes us elsewhere with its cyber beat but this is accompaniment to the customary energetic and purposeful song. It is like a story, along the lines of a progressive concept piece. The guitar work is excellent, the riff is engaging but I would say that “Coda” is more noteworthy for the accompanying sounds which are unusual and original than for the main body of a song. I’m not sure that Threshold raised the roof with the final song “The Rubicon” but it has many fine qualities. It’s almost symphonic. Damian goes into ethereal territory. “The Rubicon” is mellow but full of passion, power and melody – again I think of Manfred Mann’s Earth Band, one of my favourite bands ever. The build-up is perfect, then it slows down. The heights are scaled with sublime and imperious musicianship. There is defiance: “and so we carry on”. The keyboard work is a delight. It’s a great track when the individual parts are considered but the enigma for me remains where Threshold are concerned: the sum of these parts don’t always make an immaculate whole.
It’s easy to take Threshold for granted as the quality has remained so high for so long and expectations are great. I often wonder why they don’t receive more acclaim as their music is enjoyable and it’s easy to escape into their magnetic brand of melodic progressive rock / metal. “March of Progress” is a good album, perhaps not as catchy as parts of its 2007 predecessor “Dead Reckoning” and not really challenging, but still a great listen.
(7.5 / 10 Andrew Doherty)
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