Norlander points to producers Alan Parsons and Jeff Lynne as influences on his production style. It seems that the major label trend is to get a few pop radio hits on an album and then fill the rest of the space with whatever unfocused dreck the artist can muster. I really hate that. Singles will come and go, but strong, cohesive albums will live forever. Look at Dark Side of the Moon or Close to the Edge .
Threshold is rich in concept and cohesion.
There is a scheme to the whole thing. Evident by recurring motives and sounds that come back to haunt you like a long-gone, loved relative. It first appears in Neurosaur , reoccurs in Neuro Boogie , and then makes it's final statement in the suite, Critical Mass . Each time the theme is played with different instrumentation and in a different setting, spinning an elaborate thread that looms throughout the record. Vintage and modern keyboards alike adorn Threshold .