Erik Norlander - Threshold

ERIK NORLANDER CROSSES THE THRESHOLD

Progressive rock synthesizer album released by Los Angeles artist

(Los Angeles, California, 5 May 1997) Progressive rock keyboardist Erik Norlander makes a powerful and focused statement in his debut solo project entitled Threshold. Combining cutting - edge technology with clear 70's progressive rock influences, Norlander captures the spirit of the prog giants but with a 21st century approach. "Threshold embraces the sum of all the great progressive music of the past along with the possibilities of what is still yet to come" says Norlander.

Norlander is no stranger to the progressive giants of which he speaks. He has worked extensively with keyboard icon Keith Emerson on projects ranging from recording to synthesizer programming. Norlander not only programmed the two Alesis QS8 synthesizers that were prominantly used on the 1996 ELP tour, he was also a leading designer of them.

"I met Keith at a NAMM show a few years ago" says Norlander. "I had just finished the final voicing of this new synth (the QuadraSynth Plus), and I very much wanted to get Keith to play it. He loved the machine, and since then we have become friends." Emerson shows his support for Norlander by penning the liner notes to Threshold. "It's a great honor" says Norlander, "to have a giant like that write about my music. I remember listening to Pictures at an Exhibition when I was a kid, and now here I am, not only working with the man, but finding that he's listening to my music. It's quite a thrill."

In addition to Emerson, Norlander lists his keyboard influences as Rick Wakeman, Eddie Jobson, Mike Pinder, Patrick Moraz, Geoff Downes and Chick Corea. He also favors the bands Procol Harum, Rush, Supertramp, ELO and Jethro Tull.

Prior to Threshold, Norlander produced two albums for his band, neo - proggers Rocket Scientists, which are entitled Earthbound and Brutal Architecture. He also produced two albums for symphonic rock vocalist Lana Lane called Love is an Illusion and Curious Goods. All four albums have achieved critical acclaim and have been described as "audiophile recordings". Threshold will doubtless receive similar praise as great care was taken from the initial tracking sessions all the way down to the final mastering. When asked about the recording process, Norlander responds, "I can confidently say that no shortcuts were taken. Thankfully I have a lot of talented friends who have tremendous patience for details -- it was quite an undertaking."

Norlander points to producers Alan Parsons and Jeff Lynne as influences on his production style. "I think atmosphere, cohesion and clarity are paramount to a successful record" says Norlander. "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. Emerson writes in his liner notes, "Have no doubt. There is a scheme to the whole thing. Evident by re-occurring motives and sounds that come back to haunt you like a long gone, loved relative." Particular memorable is what Norlander calls the "Neuro Theme". 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. Norlander speaks about his choice of instruments: "Of course I used the Alesis synths to great lengths -- they're my children. But I also used elder statesman such as my Hammond Model D organ -- which is three times as old as I am -- as well Minimoog, Mellotron, Solina, CS-80, Vocoder, and even the famous Emerson GX-1 that he used on the Works album". Norlander was also able to employ a medium - sized modular Moog synthesizer from the late 1960's that he borrowed from a friend. "Now there are some sonic possibilities" he says. "There's something about discrete analog circuits. They have an organic quality that you just can't get from sample playback - based instruments."

Norlander was born in Hollywood during the Summer of Love. He is a great fan of literature and especially science fiction. His favorite writers are Heinlein, Moorcock and Asimov, although lately he has been expanding his palette. "I recently read Alfred Bester's The Demolished Man -- what a great work", Norlander comments. Also a fan of fantastic and surrealist paintings, Norlander was able to procure a suitably wild image by English artist Jim Burns for the cover of Threshold. "I think it accurately captures the spirit of the album" says Norlander.

Suitably wild and surreal in its own right, Threshold now begins it's burn into progressive rock history.