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March of Progress
October 2012
Released: 2012, Nuclear Blast
Rating: 4.0/5
Reviewer: UK Team

Threshold, have been the go to band for progressive rock inspiration for many years now, the new album March of Progress is another Inspired creation. The band that have had a diverse past from the early albums such as “Wounded Land” (1993), “Psychedelicatessen” (1994) right up to “Subsurface” (2004) and “Dead Reckoning” (2007). The band includes a variety of members from other musical pursuits, such as; Johanne Jones from London’s Kyrbgrinder. Along with Karl Groom, who has worked with Dragonforce on the production side as well as Pendragon. The band is re-joined for this album again by the original Vocalist Damien Wilson who returns after nearly a decade. All of which bring together new influences along with old to create one of the most dynamically pleasing albums of 2012.

Opening track “Ashes” starts off the prog/NWOBHM blended album superbly, holding many similarities to the cryptic album opener to “Sunseeker” from the 1994 release “Psychedelicatessen”. Both flavourful and enticing to the listener, the formula is here re-worked for the modern ears, which serves as a delight to the fans of their older material.

"Return of the thought police" echoes the modern progressive style of Dream Theatre. with great resemblance to the full on prog opera, making this quickly a very visually conjuring album that will delight the old school fans and intrigue new ones. The following track "staring at the sun" has instant flourishes of rush's school of prog mastery.

With the story styles of Neo-classical rock the next chapter starts with "liberty complacency dependency" which has some deliciously progressive guitar solos that are inspired. The slow burn of the first two and a half minutes is soon met with the tracks sub-stage which welcomes the strong and charismatic vocals of Damien Wilson. The final portion of the song is accompanied by the simply stunning guitar solo that bridges, the song into the final sub-stage with glimmering perfection.

"Colopan" is a track that delivers the wild fusion of keyboard wizardry of Richard West, into a loose reign of exploratory delights on this track, which becomes a tapestry of audio pleasure. With the random time signatures this track is definitely a stand out piece. The hours stages a race against time style of song writing, with the mixing of keys being more pro dominant as the album progresses. This track's jagged keys and melodies collectively make this a very chaotic piece.

"That's why we came" has the traditional build up of distortion into clean guitar playing, with great similarities to pink floods release "animals" The journey continues with the symphonically charged, "don't look down" which has the vibe of a rock arena sounding orchestration behind it. "Coda" explores the variations of guitar techniques with the strong dynamics of layering this pen-ultimate track sets up the mood for final track. "Rubicon" the traditional last song on a prog-rock album is often the most experiential and epic! This is track is holding to that tradition superbly.

The album overall is a rich display of skill that demands and instant re-listen from the British six piece.

Review by Ashlinn Nash
Track Listing

1. Ashes
2. Return of the thought police
3. Staring at the sun
4. Liberty complacency dependency
5. Colophon
6. The hours
7. That’s why we came
8. Don’t look down
9. Coda
10. Rubicon


Damian Wilson- vocals
Karl Groom - guitar
Pete Morten - guitar
Steve Anderson - bass
Johanne James - drums
Richard West - keyboards

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