Author: Peter Podbrežnik
Artist: Threshold
Label: Giant Electric Pea
Release: 1993
Length: 57:30
Rating: 4.5/5
Britain’s finest progressive metallers Threshold got going back in 1988, when lead guitarist and backing vocalist Karl Groom teamed up with singer Jon Jeary, bassist Ian Bennett, rhythm guitarist Nick Midson and drummer Tony Grinham. What started as a modest outfit playing covers of some better-known metal bands gradually turned to writing their own material. They went fully pro in 1992, when singer Damian Wilson, who was also a member of the neo-prog rock band Landmarq, joined Groom, Midson, Grinham and Jeary (who from then on was just the bassist and backing vocalist). With that lineup they recorded their first song, »Intervention«, which ended up on a Dutch progressive rock compilation. Keyboardist Richard West joined soon after. Along with Groom and the repeat returnee Wilson, he’s still in the band today.
Their big breakthrough on the global prog metal scene came in 1993 with the release of their studio debut »Wounded Land«, an ambitious concept album inspired by the novel of the same name by Stephen R. Donaldson. Most of the songs on »Wounded Land« wrestled with socially critical themes: the destruction of the environment and insatiable consumerism in the age of vampire capitalism (»Consume To Live«, »Days Of Dearth«), the first Gulf War in Iraq (»Siege of Baghdad), and drug abuse (»Sanity’s End«), while the bonus track »Intervention« touched on the horrors of the Bosnian war. Socially aware lyrics have been in Threshold’s ‘blood’ over the years, so on that front too they belong to the prog metal elite.
Already on »Wounded Land« the band proved they were exceptional musicians and songwriters who couldn’t be compared to other prog metal bands, since they had a completely distinctive (British) approach to arranging and building atmospheric nuances. Although they were masters of fiery prog metal passages that they used to conjure up a mighty mood in places, they weren’t shy about the occasional symphonic prog rock moment either, mostly thanks to keyboardist West, where the synth textures piled a heaping gallon of epic onto individual arrangements. In Wilson they had one of the best English singers on the modern prog rock and prog metal scene, which went a long way toward bringing the »Wounded Land« songs to life in an emotionally shattering and at the same time socially awakening way, meaning they offer plenty of ‘food for thought’.
The opening, thunderous wake-up call to humanity, »Consume To Live«, is a track with a distinctly dark, atmospheric pulse, courtesy of searing guitar phrases and agitated keyboard variations. Wilson’s mighty vocals deliver an exceptionally vivid mix of melodrama, sarcasm and worry over the relentless destruction of the Amazon rainforest, the lungs of humanity, which is thereby digging itself an early grave. The symphonic arrangements are laid out beautifully in the background, while Groom’s varied guitar lines are also an important guarantor of the melodic structure of this complex composition. This intense atmosphere with its socially sensitive messages shakes the listener right at the start of the album.
»Days Of Dearth«, in which Threshold’s lyrics take a swipe at the relentless exploitation and consumption of this once-blue planet, opens with chilling atmospheric curtains. Suddenly an ominous guitar phrase cuts through, and together with massive synth textures it deepens the gloomy mood. Damien once again shines in the role of vocal chronicler of the ‘last days of human civilization’, backed by uncompromising guitar passages. Those are in perfect balance with the keyboards and deliver quite a few epic harmonies. The 10-plus-minute epic »Sanity’s End« opens with pompous keyboard variations and fiery drum transitions, while Wilson is in his element, theatrically slipping into the role of a paranoid addict who uses drugs to live in a ‘parallel world’ of his own. This is where the Threshold guys show off their remarkable feel for atmospheric subtlety for the first time on the album, in the middle section, where majestic guitar-and-keyboard harmonies take over while Wilson once again fascinates with his vocal and emotional range.
»Paradox« is one of the album’s better moments, where Threshold build convincing bridges between prog metal and (neo-)prog rock in places, so it’s no surprise they still enjoy great respect from fans of both genres. This time it’s an epic creation at a faster tempo, with a mighty keyboard arrangement and a distinctly melodic chorus that most neo-prog bands wouldn’t be ashamed of. The same goes for West’s sophisticated yet pompous synth variations, which superbly back up yet another great vocal performance from Wilson. »Paradox«, whose lyrics raise the eternal (and not just philosophical) question of how long homo sapiens will last as the dominant species on Earth, is actually one of the oldest pieces in Threshold’s history, having been written in a ‘primitive version’ as far back as 1988, when the band didn’t yet have a keyboardist.
»Surface To Air« is another epic of more than 10 minutes, with plenty of interesting things happening in the middle of it. This time the lyrics reach almost into religious territory, dealing with the possibility of human salvation and the eternal (Zoroastrian and Christian) conflict between good and evil, while humanity is stuck in the gray zone of this black-and-white clash. There’s a ballad-like intro in which Wilson, once again proving himself a master of eclectic emotional shades, is accompanied by lush symphonic arrangements. Mr. Groom shines with a smart and inventive guitar phrase that leads the composition into a complex section with a dark, enigmatic atmosphere and plenty of hard-hitting guitar variations. Interestingly, the second half brings a shift into a melodic section with a more positive vibe, where lush synth curtains rule and Wilson’s vocals reach an almost ethereal intensity.
The punchy »Mother Earth«, a worried lyrical address to ‘Mother’ Earth full of allegorical motifs, is laced with searing guitar passages and uncompromising drum transitions. Massive layers of Hammond organ effectively back Wilson’s vocal acrobatics and play the lion’s share in weaving an utterly dramatic atmosphere. »Mother Earth« is also said to be one of the oldest Threshold pieces, supposedly with acoustic roots originally. For one of the heaviest tracks on »Wounded Land«, that’s a pretty unusual fact.
»Siege Of Baghdad«, where the band gets a bit more pointedly metal again, is an anti-war song of many epic dimensions. Its oriental motif fits the lyrics perfectly, about the first big war in a series of modern imperialist conflicts over control of the world’s oil reserves, while also drawing a parallel between the medieval crusades and modern-day crusades. Uncompromising, almost brutal guitar passages are backed by destructive drum transitions and snarling bass lines, while dynamic keyboard passages once again conjure up epic atmospheric curtains. Damien is phenomenal again in conveying the horrors and absurdity of war. In the middle section Karl briefly plays around with flamenco guitar, before the song returns to the rule of punchy, pompous rhythmic nuances. »Keep It With Mine« closes out the regular part of the album on an optimistic note. This gorgeous, acoustic-leaning ballad lets a rare ray of hope into the overall dark nature of »Wounded Land«, while Damien, amid solemn pastoral-orchestral arrangements, shows off his most touching and emotional vocal side.
The excellent bonus track »Intervention«, which was created in 1992 and originally appeared on the Japanese edition of »Wounded Land«, before turning up on the album’s 2001 reissue via Inside Out, opens with a longer instrumental intro. That’s followed by a proper atmospheric explosion and a shift into a hard-hitting section, where angry guitar passages, backed by superbly harmonized synths, build a top-notch melodramatic mood. The only flaw in this excellent song is its abrupt, premature ending, which sounds as if the band suddenly ran out of ideas on how to bring the composition to a sensible conclusion. The lyrics are among the deepest in the Threshold story and contain a sharp critique of the not-so-distant Balkan carnage, mentioning, among other things, Tito, the breakup of the former common state, besieged Sarajevo, Western hypocrisy and the frenzied slaughter of ethnic cleansing that followed.
The concept-album manifesto »Wounded Land« wasn’t just one of the best debuts by any prog metal band. It’s rightly considered a genre classic, and it launched Threshold into the ranks of the most exciting acts on the modern prog scene. Sadly, before the tour supporting »Wounded Land« Wilson got too tied up with other commitments, mainly to his then ‘home’ band Landmarq, so he had to leave them (for a while). Glynn Morgan was brought in to replace him, but he lasted only for the album »Psychedelicatessen« (1994) and one tour, after which Wilson, to the general surprise and delight of fans, returned (briefly) to his old buddies in 1997. »Wounded Land« also remains the only Threshold album with original drummer Tony Grinham.
Lineup
Damian Wilson – vocals
Karl Groom – guitar, bass pedals, backing vocals
Richard West – keyboards, orchestration
Jon Jeary – bass guitar, acoustic guitar, backing vocals
Nick Midson – guitar
Tony Grinham – drums
Production
Karl Groom
Track list
1. Consume To Live (8:11)
2. Days Of Dearth (5:26)
3. Sanity’s End (10:21)
4. Paradox (7:15)
5. Surface To Air (10:14)
6. Mother Earth (5:52)
7. Siege Of Baghdad (7:44)
8. Keep It With Mine (2:27)
