Threshold's 'Legends of the Shires' - Album Review

With the majority of the world's biggest progressive metal bands hail from America or mainland Europe, Threshold have been flying the flag for British progressive metal since forming in 1988. They released their debut album Wounded Land five years later in 1993, and have been releasing high quality albums at a fairly regular rate ever since. With progressive metal on the whole often being quite a dense and polarising genre, Threshold are one of the few bands of that ilk who are often instantly accessible. After a few albums where the band were finding their feet, it could be argued that the band's true signature sound truly began on their fourth album, 1998's Clone, and has been continually refined and built up ever since. While the band's three earlier albums are not vastly different from Clone, I feel it was on Clone that everything seemed to really come together for Threshold. Fast forward nineteen years and the band have just released their eleventh album, the epic double concept album Legends of the Shires, which continues and builds upon the great work the band have been doing in their near-thirty year career. Legends of the Shires production was not without it's drama however, as the then-current line-up of the band, which had been together for around ten years, lost a couple of members earlier in the year. Guitarist Pete Morten, who had been in the band since 2007, chose to leave the band a few months ago; and this was quickly followed by the firing of frontman Damian Wilson. Wilson, who had also been in the band again since 2007, was on this third stint with Threshold, having also previously fronted the band between 1992 and 1993, and 1996 and 1997. Losing such a charismatic and popular frontman could have crippled the band, but Threshold have dealt with this kind of situation before. The band's sole-remaining founding member and guitarist Karl Groom, along with song-writing partner and long-time keyboardist Richard West, reached out to another former Threshold singer Glynn Morgan, who fronted the band between 1994 and 1995, and he jumped at the chance to rejoin the band after more than twenty years away! Morgan's last contribution to the band's studio output was 1994's Psychedelicatessen, the band's second album, but he has been fairly quiet in the music scene since. 2017 seems to be the perfect time for him to return to the metal world however, and his performance on this album is excellent. His voice has the right sort of tone for the band's music, and he is able to carry the melodies here perfectly. The album, once again produced and written by Groom and West, sounds as lush and powerful as we have come to expect from Threshold. Being a double album however, there is definitely a lot more material to get your head around than usual. In what seems to be a deliberate reaction to the more straight-forwardness of 2014's For the Journey (which I reviewed here), Threshold have once again embraced the more progressive side of their songwriting here. The big choruses and soaring melodies that have always been present in the band's sound, but particularly since 2004's Subsurface, are still here but this album feels like a step up in terms of scope and ambition. This is the most complex work that the band have attempted in a while, and is probably the band's most progressive album since 2002's Critical Mass. While I have loved the band's recent work, this change to a more technical approach to songwriting is certainly welcome and helps to keep the band's discography fresh and exciting.

The album is split over two discs of roughly equal length and the first gets underway with The Shire - Part 1, a largely piano-based piece that helps to set the album's concept with Morgan's smooth vocals atop a gentle musical backing. It is only a short piece, with gorgeous piano and acoustic guitar melodies throughout, and acts as an extended intro. The sound of country church bells then heralds the muscular guitar riff of Small Dark Lines, the album's lead single and first 'true' song. Those who prefer the band's more streamlined sound that has been featured heavily over the past decade or so will immediately connect with this number, as it has a trademark heavy Groom guitar riff, and a soaring chorus which really shows of the talents of Morgan. In many respects, this song is this album's Slipstream and is sure to become a live favourite for year to come. That being said, it does still fit in with the overall sound of this album, as the West's keyboard sounds here are more organic - something which is noticeable about this album in compared to the rest of the band's recent output - and there is a progressive breakdown which heavily features bassist Steve Anderson. Prog fans will love the album's third track, as the near twelve minute epic The Man Who Saw Through Time ticks all the boxes of what makes a great longer song. While comparable to the band's other lengthier pieces, this one really comes alive when viewed in context with the rest of the album. It starts off slowly, with West's piano playing dominating and giving Morgan plenty of times to spread his wings vocally. While less of a dramatic vocalist than Wilson, Morgan's smoother tones really help to bring out the emotion in the song. While definitely ramping up somewhat over time, the song never really becomes a heavy number, with Groom's riffs always taking a backseat to West's keyboard playing. Whether he is playing grand piano statements, or more progressive synth leads, West always knows what is right for the mood of the song. This is why he is one of the main linchpins that has helped to keep Threshold together over the years, and he is probably one of the most underrated songwriters in rock and metal. While mostly played at a mid-pace, there is certainly somewhat more urgency during the choruses - which feature some gorgeous harmony vocals from the entire band - which helps the song to remain interesting throughout. Not to be outdone, Groom's playing is highlighted throughout with short, delicate lead breaks throughout; but he particularly shines during a lengthy instrumental section about two thirds of the way through which contains a couple of guitar solos, as well as a keyboard solo from West. It is probably worth pointing out here that the band chose not to replace Morten, so all of the guitar work on this album is courtesy of Groom. It has been said that Morgan will handle the rhythm guitar parts live on the upcoming tour. Despite being shorter, Trust the Process is another progressive piece that features some more overtly metal stylings, with big guitar riffs and fast double bass drumming from Johanne James. Groom is featured more prominently here, with lots of his trademark jagged riffing that allows Morgan to toughen his voice up somewhat to fit in well with the heavier feel of the piece. The powerful melodies the band are known for are ever-present here though, with another excellent chorus that will sink in almost immediately. My favourite part of the song however is a jaunty piano-led section about half way through, that sounds a little like Supertramp, before Groom launches into another excellent guitar solo. Opening with a snaking bassline from Anderson, Stars and Satellites soon proves to be the album's real highlight. After a couple of more complex numbers, this one is more straight ahead with AOR-esque melodies and an excellent keyboard performance throughout from West. His leads drive the whole song, although some excellent moody guitar playing from Groom helps to make the verses what they are. In contrast, the choruses are extremely uplifting and feature Morgan at his most melodic with a stunning vocal display. Nothing I can say can really do this song justice, as even the heavier instrumental sections are instantly memorable. It really is one of the best songs the band have ever done. The first disc comes to an end with On the Edge, the first Threshold song wholly written by Anderson. While Groom and West have always dominated the band's songwriting, especially since founding bassist Jon Jeary's departure in 2003, other members of the band have chipped occasionally with songs. Given Anderson's position in the band, it is unsurprising that this song is very groove-orientated with a strong bass presence throughout and heavier overtones. Despite this, it still very much feels like a classic Threshold song, with a slow, smooth chorus and a intertwining instrumental section with both guitar and keyboard leads. It is great to see Anderson writing for Threshold, especially with Morten's departure, and I look forward to his future contributions.

The second half of the album opens with The Shire - Part 2 which is essentially an extended version of the first part. It starts off identical, with the same lyrics and melodies, but carries on further in a similar style with more acoustic stylings and a floaty feel. It does get slightly heavier towards the end however, with a couple of fairly lengthy guitar solos that lead perfectly into Snowblind. This is a more upbeat, heavier piece with one of Groom's signature guitar riffs and some driving drumming from James. With West's keyboards often dominating throughout this album, it is great to have a song that really amps up the guitar presence. It is not just the riffing throughout that is powerful, but there are plenty of sections that feature his lead guitar skills, often showing him harmonising with himself to great effect. It does not loose the band's melodic side however, with another massive chorus which really shows Morgan at his best. Threshold have always perfectly married the heavier side of their sound with soaring AOR-esque melodies, and this song showcases that dynamic perfectly. A few shorter songs follow, starting with Subliminal Freeways which has heavier verses matched up against an atmospheric, more ballad-esque chorus. The contrast works well however, especially as the chorus is so strong. While the more simple nature of this song makes it somewhat less interesting than many of the others, the strong melodies make it still very memorable. The chorus is easily the song's best moment, as the verses are a little more than a basic chug, but overall the song harks back to the simple sound found on the previous album. State of Independence is a bit of a ballad with more piano playing from West and acoustic interludes from Groom. Despite the relative simplicity of the song, and it's gentler vibe, it is still packed with drama which is emphasised by Morgan's excellent vocal performance throughout. The more stripped back feel of the piece really allows him to shine, possibly more so than any other song here. Perhaps unsurprisingly, the song has another excellent chorus, which feels a little like late-era Queen at times with the way the vocals are phrased. This trilogy of shorter, simpler numbers is completed by Superior Machine, which features a keyboard-heavy, cinematic sound throughout which sits perfectly atop another big riff from Groom. Despite still be very enjoyable, it is probably one of the least interesting songs on the album. The hooks are still here, but I just feel that other songs here do the same things much better. The chorus feels a little shoe-horned in, and the vocal melodies just do not quite sink in as others do. This is not a bad song by any means, and in fact I still enjoy it a lot (which I feel says a lot about the quality to be found here), but it just falls short of much else of what is on offer on this album. The short The Shire - Part 3 follows, and acts as a little bridge between songs and features the aforementioned Jeary on vocals on his first appearance on a Threshold album since Critical Mass. This leads into Lost in Translation, another epic ten minute-plus piece. While The Man Who Saw Through Time is a lighter, more atmospheric piece, this is a heavier, guitar-driven song with some excellent riffing throughout and a murkier atmosphere. Despite a section which vocally and melodically echoes Return of the Thought Police from 2012's March of Progress, this is a very catchy and instantly memorable song despite it's length. The chorus, with West's dramatic keyboard backing, is extremely catchy and the guitar-heavy instrumental sections really add some power to this back end of the album. It is also unsurprising that there are plenty of chances for Groom to solo here, and he cuts loose at every opportunity with shredded guitar leads that really show off his talents as a guitarist. Towards the end however the song takes on a slightly Floydy feel, with a floaty, piano-led section that features some emotive slide guitar swells that back up the echoey vocals perfectly. Lost in Translation feels like the album's true end, but Swallowed acts as perfect, reflective coda as to what has gone before. This is another gentle, piano-led piece that seems to reprise some of the melodies from one of the sections of Stars and Satellites at times. The way the vocal melodies are paced, especially towards the end, gives the song a similar feel to Eclipse from Pink Floyd's The Dark Side of the Moon, and really helps to bring this epic album to a melodic and emotive close. Overall, Legends of the Shires is a really fantastic piece of work from a band that has been putting out great albums since 1993. I think this album has the potential to be seen as the band's true masterpiece in the future, and it deserves all of the critical acclaim it is receiving. There is a strong chance that this will end up as my Album of the Year come December, and if it does it will fully deserve that accolade.

The album was released on 8th September 2017 via Nuclear Blast Records. Below is the band's promotional video for Small Dark Lines.