Threshold
March Of Progress

End of August: the Threshold (the English ones) release their ninth studio album, titled "March of progress", through Nuclear Blast. A band that over the years has proven its worth with works like "Psychedelicatessen", "Subsurface", and "Dead reckoning".

"March of progress" comes after a period of silence and gestation that lasted four years: meanwhile, the death of singer Andrew McDermott had shaken the band and fans. A painful loss, which also reflects in the general mood of this latest work. McDermott is "replaced" by Damian Wilson, an old acquaintance of Threshold, who lent his voice for the debut "Wounded land" and in "Extinct instinct".

The Surrey band had a challenging task: having to reconfirm the public and critical success obtained with "Dead reckoning" (2007) while at the same time facing a delicate lineup change as the one behind the microphone: a different matter for the addition of another guitarist, one Pete Morten, who offers little to the final result of the CD.

A long-awaited work, which immediately after its release divided opinions: those who praise it speak of a work that confirms the positive trend of the group, those who criticize it due to an overly "smooth" production that denatures the metal soul that, for better or worse, is the most marked in Threshold. The "detractors" speak of a lack of bite and accuse MOP of being excessively manneristic in its perfect chiseling of sounds. A true, real criticism that nonetheless stands alongside the usual great compositional quality of Groom and company. "Colophon" is the exact emblem of this dual "Threshold" personality: a crystalline production (perhaps too much so) that supports and completes a dark, excellently studied songwriting, creating one of the most compelling songs of the entire platter. The same can be said for "Staring at the sun" where the guitars seem almost to play with the handbrake on, remaining in the background compared to Wilson, who can do whatever he wants behind the microphone. A note of merit to him for finding himself in the difficult situation of replacing McDermott and yet bringing out all of his vocal qualities.

But there is also a third soul in MOP, perhaps the one that has been least analyzed and stands out less when listening to the CD: a "lightening" of the typical complexity of progressive metal in favor of a more "canonical", more easy song form. Proof of this is the opening single "Ashes", as well as the already mentioned "Staring at the sun", the ballad "That's why we came" (which mimics Rush) and to a lesser extent "Coda", the absolute highlight of the album, embellished by Wilson's masterfully interpreted vocal lines. Naturally, alongside this new subtle streak of Threshold are also dear old typically progressive tracks: the melody of "Liberty, complacency, dependency", the apparent complexity and instrumental digressions of "The hours" and finally the dramatic pathos of the concluding "The Rubicon".

"March of progress" is a mix of different things, none of which overpower the others. The band's old trademarks remain unchanged and coexist with some new flashes, such as indeed a more easy listening approach, less "architectural" scores, and a general preference for softer atmospheres. This is why Threshold's latest effort deserves to be listened to: variety, compositional skills showcased by incredibly talented musicians, and finally a production that might raise eyebrows but contributes to making "March of progress" a product of undeniable value.

1. "Ashes" (6:51)
2. "Return Of The Thought Police" (6:09)
3. "Staring At The Sun" (4:25)
4. "Liberty, Complacency, Dependency" (7:48)
5. "Colophon" (6:00)
6. "The Hours" (8:15)
7. "That's Why We Came" (5:40)
8. "Don't Look Down" (8:13)
9. "Coda" (5:22)
10. "The Rubicon" (10:24)