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File Name:[Request] Threshold - Full-Length Discography (1993-2017)
Download Torrent:[Request] Threshold - Full-Length Discography (1993-2017)
Description:Progressive metal from United Kingdom, full-length discography of eleven albums released in 1993-2017.





“It’s time for a new chapter. The THRESHOLD family has changed again and we can’t wait to get out there…”

Founded by guitarist Karl Groom in southern England in 1988, THRESHOLD were a unique proposition from the start. Driven forward by youthful confidence and verve, they swiftly became the UK’s premier purveyors of adventurous and progressive metal and have remained at the top of that tree for the best part of three decades. From early albums like »Wounded Land« (1993) and »Psychedelicatessen« (1994) through to more recent triumphs like 2014’s acclaimed »For The Journey«, the band’s reputation has been built upon the sheer strength of their songwriting, collective chemistry and fervent disregard for following passing trends. As a result, in 2017, THRESHOLD are as revered and respected as they have ever been.

But nothing runs smoothly, even in the virtuoso world of prog metal, and as the band approached the making of their 11th studio album, they parted ways with Damian Wilson - vocalist with THRESHOLD on three separate occasions, including the last decade of the band’s career. Considering the tragic loss of another former vocalist, Andrew “Mac” MacDermott, who sadly passed away in 2011, THRESHOLD have not had the greatest of fortune when it comes to retaining their vocalists and, arguably, a lesser band would have crumbled in the face of a potentially damaging line-up shuffle, but as keyboardist and Groom’s songwriting comrade Richard West explains, there was one obvious solution to this latest setback: for their brand new album, »Legends Of The Shires«, THRESHOLD - completed by drummer Johanne James and bassist Steve Anderson - are welcoming former singer Glynn Morgan back into the fold, for the first time since fan-favourite full-length »Psychedelicatessen« in 1994.

“We just didn’t want to go with a new singer, so Glynn was the only man on our list,” notes Richard. “We were very, very grateful that he was willing! We did work with him again in 2008, when we went back to the studio to re-record some old tracks for a compilation we were doing. Then I worked with him again in 2012 with my other band LEAGUE OF LIGHTS. So the contact was always there and I was very much aware that he was always excited by the thought of another shot at THRESHOLD, so I figured that if we asked him, he’d say yes. We didn’t want to bring anyone new into the family. It’s a big enough family already, after 25 odd years… so it was nice to go back to him. And he’s got such an amazing voice, it’s been beautiful working with him again.”

“I’ve ALWAYS been a fan of the band,” says Glynn. “We never had a major fallout! (laughs) I was just a fan, keeping up to date, and I think Karl and Richard’s songwriting, they’re a great team and it’s all good stuff. So when I got the call, how could I say no? I’m very excited but I’m also very grounded. Damian was a great singer, I’ve met him and Mac a couple of times. Mac once saved me from an overzealous security guard at Wacken! (laughs) But all I can do is my best. I’ve given my best on the album and I’ll do exactly the same at the live shows.”

Fortunately for all concerned, Karl and Richard had begun writing new material for the next THRESHOLD album long before they found themselves in need of a new recruit. The results of what must surely be the most productive chapter in THRESHOLD history are showcased with glorious finesse and bombastic exuberance on »Legends Of The Shires«, a colossal double album full of the most vivid, vivacious and supremely confident music that the band have ever recorded. In contrast to the more straight-ahead heaviness and traditional structures of 2014’s »For The Journey«, the new album is an admirable exercise in flexing creative muscles and revelling in exploratory flair. It also feels very much like the start of a new era in THRESHOLD’s illustrious story.

“We never really thought about starting a new chapter because we loved what we did on the last two albums,” says Richard. “But we felt that »For The Journey« was maybe a little less complex and with a little less depth than some of our previous works. Looking back through our catalogue, we’ve gone much deeper and we’ve been much more progressive. So what we learned from »For The Journey« was that we wanted to go more progressive again, and once we made that decision, the floodgates opened musically and we were off. Soon we had so much material that we realised it was going to have to be a double album.”

“When I heard the new material, I was blown away,” adds Glynn. “All I’ve ever wanted to achieve with my own music is to make things raw and heavy but with big melodies. I think you can have melody over the top of brutal guitars, and this album blew me away with the heaviness and the catchiness of the hooks. Some of the tracks, the keyboard work and the guitar work, it’s among the best stuff the band have ever done. It’s a double album and it really does represent a new chapter. We’re all excited and I just hope the fans love it as well. I’m just proud to be a part of this.”

83 minutes in length and yet remorselessly absorbing, »Legends Of The Shires« is a towering achievement and very obviously the most ambitious and progressive record that THRESHOLD have made to date. Although it is a sprawling, multi-layered concept album, it still contains all the irresistible refrains, soaring choruses and moments of balls-out metal intensity that long-time fans will be expecting, but this time there are countless hidden depths to be delved into and a huge number of unexpected musical twists and turns to keep listeners glued to their speakers.

From the devastating catchiness and sturdy riffing of second single 'Small Dark Lines' and soul-scorching anthem 'Stars And Satellites' through to the labyrinthine opulence of ultra-prog epics 'The Man Who Saw Through Time' and 'Lost In Translation', it’s an album that cranks every aspect of THRESHOLD’s music up a few notches while beautifully refining their brilliance as songwriters and musicians. Fans will have to wait until the album is released to fully dive into the new album’s sumptuous sonic depths and epic narrative, but as the band themselves state: “»Legends Of The Shires« is a concept album about a nation trying to find its place in the world. It could also be about a person trying to do much the same thing.”

“I don’t want to give too much away about the story itself,” Richard notes. “It’s like when you watch a movie preview and they tell you the entire story in three minutes. With music, you don’t want it to be as one-dimensional as some movies are. You want to provide space for people to put themselves in the story, so I don’t want to say much more! But when it’s a story, it just flows. Every song doesn’t have to have a unique complex subject - it can just be part of the story. I feel young again in my writing, which is really cool. I got into prog rock when I was at school and I remember daydreaming about making records like this. It’s exciting to be writing prog rock concept albums!”

With Glynn Morgan stamping his vocal authority all over the new album, it seems that the magical chemistry that has always been a major part of THRESHOLD’s appeal has already started to fizz and flicker around the band’s freshly retooled line-up. The release of »Legends Of The Shires« will be followed by a sustained flurry of live shows, as Glynn returns to the stage with his old compadres and takes the many-splendored delights of the new album to the masses, not to mention some choice cuts from »Psychedelicatessen«, the album that first brought Glynn’s incredible voice to our attention. As far as Richard West is concerned, the future for these dogged veterans has never seemed brighter. The legend continues…

“We had a great ten years with the previous line-up and we have some great memories of it. But we’re entering a new chapter and we’re looking forward to making some new memories,” he concludes. “We’re looking forward to taking it onto the road and seeing what this new family feels like. The nicest thing I found was how warm and friendly everything has been. It’s wonderful that we have a fresh start and we’re all loving being a part of THRESHOLD right now.”


Threshold Official Website


1993 Wounded Land (2012 Remaster)

1994 Psychedelicatessen (2012 Remaster)

1997 Extinct Instinct (2012 Remaster)

1998 Clone (2012 Remaster)

2001 Hypothetical (2012 Remaster)

2002 Critical Mass (Limited Edition)

2004 Subsurface (2012 Remaster)

2007 Dead Reckoning (Limited Edition)

2012 March Of Progress (Limited Edition)

2014 For The Journey (Limited Edition)

2017 Legends Of The Shires (Limited Edition)






Threshold remains the most consistent prog metal band perhaps of all time with this, their 11th standard full-length release. Anchored by the duo of Karl Groom and Richard West, this is their 5th album with the rhythm section of Steve Anderson and Johanne James, and the 2nd album featuring vocalist Glynn Morgan. Morgan hasn't donned the mic since Threshold's seminal 1994 release Psychedelicatessen after which he left and formed his own band Mind Feed. In my opinion his performance on that album was the best vocal performance in Threshold to date, despite my thoughts that overall Mac was the best vocalist the band had. The real question on everyone's mind for this release will inevitably be centered around Morgan's performance on this album; as Damian Wilson twice rejoined the band to great success following West and Groom's undeniable footprint.

Well Morgan delivered, not to my surprise, but anyone who might have had any doubts will very quickly erase them when even the first lines of this album are sung. Morgan is the most emotive voice of the 3. He is perhaps less powerful than Mac and less technical than Wilson, but from the first lines of The Shire Part 1 he exhibits his emotive yet brazen vocal styling. While Morgan's performance here isn't as electrifying as the more brutal delivery of Psychedelicatessen, it is more varied and matured. It is hard to think that Wilson had actually recorded vocals for this one and it will be interesting to see if Threshold release the accompanying tracks. Conversely it will be interesting to see if they re-record old Wilson and Mac tracks with Morgan at the mic, much like they did in the past.

The remainder of the album is literally business as usual for the rest of the band. They can be formulaic in their own equation and constantly remind the listener who they are listening to at times, but just never grow dull. This time they go for a lyrical theme a bit beyond the political and philosophical enlightenment that they typically provide instead opting for a concept album. The concept is par the course for the band; a lose conception about liberty, nations, and progress. They are essentially the same topics done in an incredibly tasteful storylike manner. As you listen the story deepens, and unlike many prog bands like Ayreon, the theme never seems derivative. It all flows and never becomes tirelessly cheesy.

Speaking of the "cheese", this band continues to master the saccharine pop melodies. West and Groom seamlessly meld Gaga-esque anthem pomp with modern power metal à la Nocturnal Rites in the first full track Small Dark Lines. Any other band outside of DTP might be hanged for such melodies, but the seamless integration Threshold put into it coerce listeners and critics to forcibly turn a blind eye to its "unmetalness". A few lyric lines might breech the line for some, but effectively Threshold walk the line with grace.

While the other album featuring Morgan's pipes featured many epic and bludgeoningly heavy passages, this one is softer and more subtle. There are only two bona fide epics here despite this one being a double disc. And unlike songs like Devotion and Intervention from Psychedelicatessen, songs on here such as Trust the Process hark back to the bands very first disc Wounded Land. The Man Who Saw through Time, which is the first of the two 10-plus minuters, is definitely something that could have been found on any of the Mac Era albums, with a significant noodling section that never becomes tiresome; though some of the riff progressions also reference the track The Hours from March of Progress. All the while, the guitar tone takes an emotive characteristic reminiscent of mid-era Mike Oldfield. There is a very English-nationalistic sound from the guitar melodies on a selection of the tracks, particularly the aforementioned one as well as the Shire series and the closer, the grace-laden Swallowed.

It is surprising on such a long release to really only find 3 more lengthier songs. While Trust the Process melds the old-school Threshold sound with the more-mid era instrumentalism, the other two 7-plus minuters are two of the single tracks off the album. Stars and Satellites melds some 80-s era English pop and perhaps late-80s/90s-era Rush with a modern metal sound while the first single Lost in Translation is an epic journey featuring some catchy melodies and a chilling climax with a few sections that hark back to the first album.

A unique feature of this album is the inclusion of former vocalist and bassist Jon Jeary on the final part of the Shire trilogy. It seems on this album that West and Groom seemed keen on bringing in elements of a variety of past elements into this one, perhaps encouraging their selection of Morgan to handle the vocal duties. Long-time Threshold fans will feel some goosebumps and glossy eyelids listening to this album.

One goosebump-inducing moment is the "title track" The Shire Part 2. This track starts disc 2 and perhaps serves as the middle climax of the album. It is an almost-folky anthem with not only infectious guitar lines but a chorus that you will be humming for weeks. The chorus is a well-intended, if cliché, mood-lifter. The track is textured and vibrant and I wouldn't be surprised to see the band pick it as the fourth single of the album. Morgan proves on this one why it was a great idea to bring him back into the fold and Groom's soaring guitars will put a little bit of happiness back into anyone's day, though as the song concludes it feels almost unsettled.

I think disc two succeeds in surpassing disc one in quality, but only slightly. The album doesn't seem top heavy nor skewed towards it's climax. The music flows exactly with the concept of the lyrics. At this point we are treated track after track to melodic prog gold. Picking a favorite off this album is quite hard. I love the pop-rock opera epic State of Independence and the impossibly catchy Superior Machines. Fuck it, Swallowed is up there, and the chic and heavy Snowblind. Critics and fans are almost becoming broken records when describing this band. They seemingly can do no wrong. If it isn't the sense of melody it is the inventive songwriting that engulf the listener; if it isn't the technical prowess it is the restraint these guys show as the antithesis of genre mates such as Dream Theater or Symphony X.

In fact, I don't really see any audience that wouldn't appreciate this album aside from the basement proggers and the kvlt-metallers. It is poppy yet heavy; visceral yet gentle; technically proficient yet restrained; riff-loaded yet never overbearing. West and Groom dance around all corners of the progressive metal spectrum always blending the right mixture of ingredients. Though I love Devin Townsend and would consider him the next in line, West and Groom prove time and again they are the gold standard of progressive and even all of metal songwriting. There is a very low chance of anything surpassing this as album of the year. There is something about a gold standard that only the weak minded can find fault in to take it down to their level. Just listen to and enjoy this piece of gold.


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As requested by a fellow member Fomentor from Italy!
Genre:Progressive
Bitrate:320 k
Size:1.91 GB
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Added:26/11/2018
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