Threshold / Enochian Theory

The UK's most prominent progressive metal act Threshold kicks off their March of Progress European tour at their home base of London. Last year's 'March of Progress' full-length was greeted by rave reviews from critics and fans alike, showing that perhaps more bands should take five years off before recording an album.

Support comes from Portsmouth's own Enochian Theory, blurring the line between prog metal and prog rock. Formed in 2004, they have three full-lengths to their name and are making a fair impact on the modern UK prog scene. The stage is dwarfed by Threshold's drum kit behind the trio so the space on stage is limited. Nonetheless, the music is captivating enough to justify a limited presence. The music is more emotively concerned than technically-fixated, a simplified and less heavy marriage between Dream Theater and Pain of Salvation (before they experimented significantly). The band are certainly more rooted in a prog rock tradition but strains of metallic riffing seep into the guitars on every song. Drummer Sam Street is particularly fascinating with his unpredictable and complex drumming. Frontman Ben Harris-Hayes straddles guitar and vocal duties, sounding not unlike Threshold singer Damian Wilson. He comes across as humble with his stage banter and perhaps a little nervous. Two songs sport death metal growls but these feel shoe-horned in, not backed by death metal music, and clean vocals would have been just as effective. The audience reaction is encouraging with each number being greeted with a strong applause for the good turn out. Needless to say, Enochian Theory are a promising act and hopefully they will appear supporting more prog names in the future.

The Underworld is commendably full as Threshold take to the stage. Beginning with opener and fan favourite 'Mission Profile' from the 'Subsurface' album, the six-piece illustrate their musical professionalism perfectly. Touring on the back of 'March of Progress', a hefty portion of the set is culled from this release and the audience appear ecstatic to hear it performed live, with many singing along to each word. The dynamic and catchy 'Don't Look Down' harbours a contemporary interpretation of the typical Threshold aerial prog metal sound. During 'Coda', guitarist Pete Morten endures technical difficulties, causing him to remain off stage for most of the song. After the track wraps up, Morten goes on to state that it is typical that this happens during the song that he wrote. Continuing with selections from the newest album, album opener 'Ashes', the ballad 'Staring at the Sun', the fragile 'Colophon' and the ten minute long 'Rubicon' are served up, showing that prog metal is definitely not emotionally deficient.

The talent of Threshold is remarkable yet tastefully understated. The delicate keyboard work from Richard West paired against equally ethereal and occassionally tough guitar efforts from Morten and Karl Groom arm these Englishmen with an unquestionable identity. The intensity and creativity of the rhythm section, provided by drummer Johanne James and bassist Steve Anderson, donate a focussed bottom end to the music. Frontman Damian Wilson has always been one to watch. Not only is he a unique vocal talent but he is a true showman, not forgetting that a live concert is about showmanship in addition to musicianship. His vocals never falter and he barely stands stationary for long. Additionally, Wilson appears to have grown a thick beard for which he asks the audience their opinion. After a mixed reaction, he claims that men generally appreciate the beard and women hate it.

The remainder of the setlist beside the 'March of Progress' material includes the munch lauded and lengthy ballad 'Pilot in the Sky of Dreams' from 'Dead Reckoning', with fans singing along word for word, 'Long Way Home' and the older 'Part of the Chaos' and 'Angels'.

Unfortunately, the classic 'Light and Space' and the newer 'Hollow' are dropped from the setlist to make way for the venue's weekend curfew. Nonetheless, an encore occurs after 'Rubicon' closes the set, satisfying the audience's prog appetite with 2007's 'Slipstream', a fantastic display of dramatic metal that visibly moves the audience. Given how modern the closing number is, it shows the strength of the UK act's newest material and why they remain a force to be reckoned with in the prog metal world. The show finally ends with Wilson stage diving into the audience and greeting all those who want to speak to him. This is a fantastic start to the weekend and given the number of those who travelled for all over the UK for this show, hopefully a full UK tour will appear sometime for these excessively talented musicians.

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