Threshold is still the best progressive metal band from England and Dead Reckoning marks their debut with major label Nuclear Blast, which seemed a somewhat confusing match-up at first, but repeat listens to the album have attested that the band still have full artistic control over their music, and there is no sign of regression or stagnation in form and style whatsoever.
Assessing the Mac-era albums, I have always considered Clone to be their transition to a more vocal-harmony-friendly style of prog, reaching its stylistic peak on albums like Hypothetical and its heavier logical continuation Critical Mass. The previous album Subsurface saw their entrance into yet another territory, blending the melodic signature of their earlier works with more elaborate instrumental sections defined by huge production values. The new album embarks on a similar stylistic drive. Therefore, it shouldn't be wrong to claim that Dead Reckoning, rather than breaking new ground completely, encapsulates the most consistent parts of its predecessor, adding in a bit more crunch and catchiness factor, particularly in the use of Andrec McDermott's vocals. It is clear the songs on this album have especially been tailored for him to demonstrate his vocal skills fully, exerting convincing authority over melodically enhanced harmonies.
On the other hand, while the similarities to Subsurface can in no way be denied, there are also new elements introduced on some of the songs, most notably on the album opener "Slipstream", which sees them instantly gluing an addictive chorus to the listener's mind, amidst an onslaught of crunch-filled rhythm guitars backed by Richard West's ethereal synth patch and drummer Johanne James' easily identifiable playing. James is among the hardest hitting skinsman in the business, which is why most Threshold songs are graced with a convincing slam through and through. Truth be told, it was his playing that got all my attention during the first couple of spins. The song also has the amazing Dan Swano guesting with his unique death growls briefly behind Mac; and the use of Queen-like counterpoint at the very end is something they had never experimented with before.
Dan Swano also appears on "Elusive". His growls on this one are more brutal sounding, providing a strong sense of contrast to Mac's crystalline vocals. The instrumental part of this song ranks among the album's best: it is filled with a killer unison solo by Karl Groom and Richard West, each player upping the calibre of the already mesmerizing song; and Mac's vocal part that follows Karl Groom's solo part is arguably the album's high point vocal-wise. The choice to feature Swano is a huge asset to these songs, as the subject matter of both "Slipstream" and "Elusive" are dark and menacing: the former addresses anxiety whilst the latter deals with the individual's desperation and completely lost state of mind.
Four of the songs, including the ten-minute epic, on the CD were written by keyboard player Richard West. It is no coincidence that songs by West also have a futuristic side to them, as they are mostly infused with brief but easily noticable sound effects, such as the intro of "This Is Your Life"; the string arrangement of the moody cut "Disappear"; and the slightly 80's-tinged "Hollow" in its use of synths that disappear under Groom's chunky guitar solo. I have always drawn comparisons between Richard West and Kevin Moore, as both of them know perfectly how to insert an atmospheric undercurrent into the otherwise rhythm-heavy compositions. On "Pilot in the Sky of Dreams", originally intended to be the album title, Threshold move through several moods, starting out with a ballad-like piano bit and then delving into a strong bass groove by Steve Anderson (who other than this serves more like a second guitarist on the album) and superb vintage keys. It is interesting to note that even Mac sounds like Genesis-era Collins, not tonally but in the way his enunciation comes through.
On the heavier front, "Fighting for Breath" is epic in its intro, growing from a single riff to a progressive metal rocker a la some songs from their back catalog; while "One Degree Down" is propelled by fierce rhythm guitars but it also has a cool unison part, and a terrific guitar outro by Groom. Being more compositionally driven, the guitar and keyboard solos are not as abundant here as on their earlier works, but fear not, the duo still lay down some terrific solos blowing the mind away.
Given Karl Groom's resume with countless bands as a producer, it would be daft to discuss the album from a production standpoint. The mix is clear as always, the recording quality alive, and the mastering brimming with power. Dead Reckoning is yet another great entry into Threshold's consistently impressive body of work.
