Threshold
Psychedelicatessen

So, it's really true, the best things are never adored right away! That's exactly what happened to me with this "Psychedelicatessen," the second studio album by Threshold. After listening to the group's more recent albums and extolling their melodies, I was tempted to download their entire discography (something that has happened to me with many groups, so much so that I decided that when I wanted to get to know a new group, I would do it by downloading their entire studio discography). When I first listened to this album, I even went so far as to call it the worst of the group, so much so that in some comments I explicitly wrote it (go read the other review present here). But that was due to a likely too hasty and superficial listen. Now I've reassessed it significantly, and I, too, consider it among the best of the group. Sure, the trio of "Hypothetical," "Critical Mass," and "Subsurface" remains something grand within the group, but the importance this album holds in the group's career is fundamental!

It is an album made of thrash and progressive elements, harder and more experimental than the previous "Wounded Land" and characterized by particular and much more "studied" sounds... The attention to the melodies and sounds is truly impeccable. Everything in this album seems to be there not by chance but seems studied to be in that exact spot. Compared to the later albums, the sounds here are used with extreme caution... excess is avoided; everything is done when it really is the moment to do it. In the future, they will tend to favor pompous atmospheres and more daring and massive use of sounds (still without ever crossing into the banal), but here there is no desire to overdo it; there is a bit of everything, measured with extreme intelligence. There are complex solos at the right moment, there are delicate and never intrusive keyboard backgrounds... not to mention the electronic experiments. Richard West's keyboards are used in the most skillful manner possible and reveal themselves capable of producing sounds with a peculiar psychedelic flavor and atmospheres so light yet warm that we will hardly find in later albums! And Glynn Morgan's vocal performance is the cherry on top, and I think that after Mac's recent departure, they could have recalled him instead of that much-lauded Damian Wilson, whom I personally have never found so thrilling with that voice that, in my opinion, doesn't have the timbre capable of delivering emotions like that of Mac. Morgan is instead a complete, dynamic singer with a vocal timbre suitable for both harder and softer tracks; it's a pity that only in this album did we have the opportunity to hear his voice!

The album's greatness is, and it's no surprise, the longer tracks, often where more weight is given to the structures. The opener "Sunseeker" is one of the band's most compelling songs: the intro is made of particular electronic effects followed by thrashy guitar riffs that guide the whole track. When West enters with his keyboard backgrounds, he never does it overly, and in the final part of the track, he gives us real delights: entering with very delicate notes after the last chorus, he comes in with a beautiful solo and is the protagonist of the ending with very Pink Floyd-like organ notes, giving a conclusion never so noteworthy. The guitar solos are also beautiful. The following "A Tension Of Souls" is a gem: the beginning is rather light, with powerful guitars accompanied by the keyboard background, then the rhythm tends to grow more and more, reaching frantic speeds. The keyboards are highlighted again at the end with a beautiful solo and nice electronic sounds accompanying the guitar solo that closes the track. "Into The Light" has a different development. The first part of the track presents calm and delicate rhythms with gentle and relaxed guitar arpeggios and a keyboard background light enough to lift the listener to another dimension, alternating with a more determined chorus with stronger keyboards; later in the track, the tempo becomes faster, and West doesn't forgo his precious inserts... and again in the finale, he stands out once more with very "laboratory-like" sounds that give another masterful conclusion. The other longer and sophisticated track is at the album's end and is "Devoted", which starts with a powerful attack only to give space to excellent guitar touches alternating with stronger moments... but really remarkable is the central part... everyone is still, space for keyboards and voice, Richard West opts for something more orchestral and symphonic, but when that part arrives, it really flows like honey in the ears, the listener gets lost in the blue sky among the few clouds for a few minutes only to return to the ground when the guitars reignite, resuming the riff that opened the track. Even the shorter tracks really seem not to lose that accuracy often forgotten in favor of something more "easy". An example is "Will To Give" with direct guitar riffs and a funky-flavored rhythm and always excellent electronic inserts, all ending with a nice growl (quite a rarity in Threshold's discography) by Glynn Morgan. Slightly lower are "Babylon Rising" and "He Is I Am", surely immediate but still respecting the bond of marriage between power and atmospheres. Perfect even on the melodic side, thanks to the ballad "Under The Sun", led by the piano and joined at the end by an acoustic guitar, and "Innocent", not exactly a ballad but still a track with a strong melodic flavor.

In closing, I say that after many listens, I am also compelled, as a good critic I am, to recognize that this is a great album! I don't know if it's the absolute masterpiece, but it's definitely the album most capable of offering surprises, the freshest in terms of ideas, most attentive, the one offering the most original insights... there are many characteristics to appreciate it, but equally much time is needed to appreciate it... says a passionate listener!