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░ ██ ██ Artist: Glass Hammer ██ ██
▓ █░░ ■█ Album: Valkyrie █■ ░░█
■ █▓▀ █ Year: 2016 █ ▀▓█ ░
█ ▓ Rel. Date: 2017-04-16 ▓ █
▒ ▒ Genre: Progressive Rock ▒ ▒
█▄ ░ Label: Arion Records ░ ▄█
░ █▄ ░ Source: CD ░ ▄█
░ █▓ Type: Album ▓█ ░
▓ █ Quality: VBR, 44.1kHz, Joint Stereo █ ░ ▓
▓ █ █ ░ ▓
▄ ■ ■ ▓ ■
░█ █░ ▀
█ Once they hit their first stride early in the mid █
█ Nineties with `Perelandra', American progressive █
█ rock band Glass Hammer have delivered a █
█ consistently strong series of symphonic-prog █
█ albums, earning the well-deserved reputation as █
█ one of the premier modern bands playing in that █
█ style along the way. Two of their albums in █
█ particular, first 2002's `Lex Rex' and the epic █
█ double-set `The Inconsolable Secret' three years █
█ later are often considered modern symphonic █
█ classics (and fans of the group will happily argue █
█ back and forth amongst each-other about which of █
█ their numerous other releases over the years can █
█ join those two!), but 2016 finally brings not only █
█ the undisputed next album to join that duo, but █
█ one that is likely to become the defining Glass █
█ Hammer album of their entire career to date. █
█ `Valkyrie', a lyrically rich concept work telling █
█ the tale of a loving couple separated by war and a █
█ soldier's eventual emotional and mental struggle █
█ upon returning home is ripe for a lyrically and █
█ musically dramatic interpretation, and the group █
█ completely convey the trauma and turmoil with █
█ great sincerity and empathy - certainly a grounded █
█ story a world away from the fantastical elements █
█ so often found on progressive rock albums! But █
█ while fans and progressive music listeners only █
█ aware of the type of style Glass Hammer play in █
█ would be right to expect another grand symphonic █
█ work to match the story, what will likely surprise █
█ everyone is just how modern sounding this `retro █
█ prog' band is throughout the disc. It's still █
█ instantly recognisable as the Glass Hammer their █
█ fans know and love, but this is hardly some mere █
█ vintage prog re-enactment. `Valkyrie' sees the █
█ band experimenting with little traces of elegant █
█ cinematic grandness, Post Rock, jazz-fusion, █
█ psych-pop, electronica and even hints of heavier █
█ rock, making for a work with a rejuvenating, █
█ eclectic and contemporary edge that has all the █
█ musicians sounding completely refreshed and █
█ determined to impress. █
█ With previous singer Carl Groves away from the █
█ group again for now, the time is perfect for three █
█ of the most important contributors to the Glass █
█ Hammer sound to reclaim their throne. Taking the █
█ well-deserved leading lady spotlight once again █
█ and delivering a career best performance is Susie █
█ Bogdanowicz, and far from being just a lovely █
█ singer with a pretty vocal, as always she brings █
█ true spirit, powerful conviction and a dramatic █
█ heart that puts most of her fellow contemporary █
█ prog ladies in check. It's also a delight to █
█ discover GH founding members, bass player Steve █
█ Babb and keyboardist Fred Schendel, taking equally █
█ as many of the lead vocals again too (especially █
█ the latter). They might not quite have the bigger █
█ vocal ranges that past singers such as Groves, Jon █
█ Davison and others had, but they've been singing █
█ on Glass Hammer discs since the beginning, and █
█ their voices have always been full of personality █
█ and character, making this something of a █
█ `homecoming' vocally for them, and a real joy to █
█ hear for long-time Glass Hammer fans. The two █
█ other players are now long established in the █
█ group and must be well on the way to be part of █
█ what can be considered the `definitive' Glass █
█ Hammer line-up - Aaron Raulston's drums rumble █
█ with such variety, depth and purpose, solidifying █
█ him as the best and most complex drummer to ever █
█ be a part of the band, and gifted guitarist Kamran █
█ Alan Shikoh once again finds way to delivering █
█ equally ravishing and subdued performances, █
█ reaching in some surprising directions here we've █
█ never heard of on previous Hammer discs. █
█ Launching right from the start into delirious █
█ proggy excess balls-and-all (or as politely as █
█ prog can do `balls-and-all!'), `The Fields We █
█ Know' bombards the listener with plenty of what █
█ Glass Hammer do so well - up-tempo and lively █
█ colourful instrumental flashes racing in all █
█ directions alongside catchy vocal passages with █
█ the perfect mix of whimsy, warmth and drama. It █
█ makes for an energetic opener that instantly calls █
█ to mind their `Lex Rex' album, with moments of █
█ dreaminess and little playful call-outs to █
█ Genesis, all backed to Steve's rumbling bass █
█ leaping about loud and proud - is there seriously █
█ a better bass player active today performing this █
█ type of prog music who always sounds this good?! █
█ Next up, `Golden Days' is sprightly and warm to █
█ match the wistful lyric, full of Fred's always █
█ sublime zippy keyboard solos and embracing Susie █
█ and Fred vocals with glorious multi-part group █
█ harmonies, but a Pink Floyd-flavoured █
█ electric-piano come-down and grinding brooding █
█ guitars to end on hint of approaching darkness. █
█ `No Man's Land' is mostly comprised of several █
█ lengthy instrumental passages, including a booming █
█ synth introduction, manic jazz-fusion twists, █
█ loopy percussion twitches and seamless bursts up █
█ and down in tempo, an unsettling edge to an eerie █
█ droning spoken-word-like interlude and a █
█ distortion-heavy stormy climax the final █
█ destination. █
█ But even when the band isn't charging headfirst █
█ into a dozen different proggy directions there's █
█ still wonderful things to discover. Instrumental █
█ `Nexus Girl' bristles with slinking electronics, █
█ programmed beats and Post Rock-flavoured chiming █
█ guitars behind the whirring synths, and the █
█ simpler Steve-sung title track `Valkyrie' is █
█ dreamy and drowsy psychedelic pop that eventually █
█ rises in power. Alan's chugging heavier guitars █
█ and Steve's mud-thick menacing bass make `Fog of █
█ War' rumble with a toughness, and the track holds █
█ one of the most joyful and unashamedly poppy █
█ choruses the band have ever delivered with a █
█ strong crossover appeal (well, if the rest of the █
█ track wasn't Prog dialled up to 11!). █
█ `Dead and Gone' effortlessly moves between █
█ melancholic, hopeful and mischievous! Sad piano █
█ and a treated haunting vocal from Susie cry █
█ ethereally from beyond throughout, but creaky █
█ Mellotron-slices, humming organ and life-affirming █
█ guitars lift the track in hope and victory, but █
█ still with a looming tension. It's a nice showcase █
█ for Kamran too, who's guitars offer everything █
█ from weeping strains, infernal snarling bites and █
█ cutting jazz-fusion fire all in under ten minutes █
█ - and just dig that darkly grooving finale from █
█ the fellas! █
█ The pristine `Eucatastrophe' is a heart-breaking █
█ Susie-led ballad, the chiming classical guitars █
█ throughout reminding of the final moments of █
█ Genesis' `Dancing with the Moonlit Knight', and █
█ it's one of the most precious and sobering moments █
█ on the disc before the piece dashes into tougher █
█ E.L.P-flavoured keyboard flare. The opening █
█ acoustic guitar reflection and pin-drop still █
█ piano of final track `Rapturo' show just how well █
█ the band deliver quieter, sedate moments, the rest █
█ of the carefully focused piece going on to soar █
█ with Anathema-like reaching guitar shimmers and a █
█ dignified powerful vocal send-off from Susie that █
█ makes for an album closer unlike any to appear on █
█ a Glass Hammer before. █
█ A widescreen masterclass example of current █
█ progressive music that perfectly fuses vintage and █
█ modern sounds with an equally on-point balance of █
█ subtlety and bombast, Glass Hammer have completely █
█ set the symphonic-prog standard of the year with █
█ `Valkyrie', their most ambitious, mature, █
█ grandiose, vocally exquisite and instrumentally █
█ rich work to date. Long-time fans will absolutely █
█ adore it but also likely be very surprised as █
█ well, and newcomers to the group could not pick a █
█ better place to start exploring their wondrous █
█ music. Crackling with warmth, variety, inspiration █
█ and overall progressive music excellence, it is █
█ very possibly the greatest musical statement of █
█ Glass Hammer's near 25-year career so far, but █
█ indisputably one of the finest and most essential █
█ prog discs of 2016. █
█ █
█ --- █
█ █
█ Here's a concept album about the trauma suffer by █
█ those who survived the war and how this trauma can █
█ take many forms in life. In the recent past years, █
█ the band wrote individually, so the songs were █
█ eclectic. Now Fred and Steve wrote together the █
█ concept like they did in the early days. They took █
█ the time to find the best guitar parts to go with █
█ that concept and they worked a lot more with tone █
█ before recording. I was disappointed with their █
█ last albums, the songs were a bit sloppy and I █
█ thought I was tired of the band sound. But when I █
█ listened to this new one, I discovered a new sound █
█ and a new direction which is not obvious in the █
█ first song "The Fields We Know" But in the second █
█ song "Golden Days", some heavier guitar parts █
█ surprise me and some new keyboards sounds. I could █
█ even hear some Crimsonesque of the late period █
█ vibe in some places. The epic "No Man's Land" is █
█ the most complex and dramatic song with some dark █
█ atmosphere, an avant-garde passage. There're some █
█ recurrent themes bringing the song to some █
█ cohesion despite many moods and rhythm changes. I █
█ never heard a song like this from the band. "Nexus █
█ Girl" is an electronica, post-rock interlude that █
█ is showing another time another side of Glass █
█ Hammer. The title track is in the pure band █
█ symphonic style. "Fog of War" show some Geddy Lee █
█ and Chris Squire bass style with some heavy prog █
█ music. "Dead and Gone" is another highlight █
█ starting as a ballad but the pace picking up in █
█ some dark atmosphere and with some groovy █
█ instrumental parts from every musician. The album █
█ end peacefully in a post-rock atmosphere. █
█ I think that the band has succeeded here with some █
█ concise songs, you can feel the work behind this █
█ just by listening to the sound of each instrument. █
█ If the keyboards of Fred Schendel are still █
█ playing a big role in the band sound, this time, █
█ the others musicians have more space to create an █
█ album that has a richer and fuller sound █
█ █
█ --- █
█ █
█ War. A revolting human trait that has plagued █
█ mankind since that silly monkey decided to bash █
█ that nasty gorilla over the head with some █
█ abandoned saurian femur, as depicted so vividly on █
█ 2001 Space Odyssey. Seems like advanced and █
█ enlightened societies fare no better that the █
█ primitive barbarians (as if the Romans were fuzzy █
█ and wuzzy in their conquests!) It is impossible to █
█ be a historian, amateur or professional, without █
█ dabbling in some kind of "cassus belli" that █
█ defines some period in human development. Sad. █
█ True. C'est la vie! █
█ Veteran American prog band Glass Hammer continues █
█ to delve further into this subject matter, proving █
█ its importance by making a gigantic leap forward █
█ with this splendid effort "Valkyrie". Arguable █
█ perhaps, their finest career moment remains the █
█ live at the Belmont DVD as well as 'the █
█ Inconsolable Secret' double album, a perennial █
█ favorite of many GH fans. I really liked "Culture █
█ of Ascent" as well but it seemed to me and many █
█ others that subsequent albums while being quite █
█ tasty, never really hit the heights of that █
█ whopping 2CD masterpiece. "Cor Cordium" and "If" █
█ were fine recordings but had no staying power in █
█ terms of melodies and return visit yearnings. It █
█ seemed somehow missing soul or even depth, though █
█ the playing was phenomenal. With "Valkyrie", it █
█ obvious immediately that a new infusion of sound █
█ as well as a deepening sense of pace has taken █
█ root and flourished. Sprinkled throughout this █
█ opus are some snippets that are totally new to GH, █
█ as if Schendel and Babb searched out more █
█ resonating sounds that were modern, yet retro, █
█ futuristic and also backward looking historic ( a █
█ sort of oxymoron, as history knows only one █
█ tense). This is best expressed on the brief but █
█ exhilarating "Nexus Girl", a tremendous oblique █
█ innovation to the GH sound, featuring some robotic █
█ pulsations from drummer Aaron Raulston (a total █
█ revelation here btw) and swirling synthesizer █
█ furls that wink at the Simon House-penned Hawkwind █
█ instrumentals. I was floored when I first 'eared' █
█ this track. █
█ Within seconds of "The Fields We Know" opener, the █
█ resilient bass guitar steers the arrangement, █
█ always a welcome navigator of progressive oceans, █
█ Steve Babb has definitely acquired the Chris █
█ Squire methodology of tyrannical leadership of the █
█ low end. From that point onward, the symphonics █
█ are elevated to new heights through a variety of █
█ shifts and tones. "Golden Days' is a definite █
█ plateau, with some stellar playing by everyone, █
█ shading behind ominous timbres and sprightly █
█ horizons, guitarist Kamran Alan Shikoh showing off █
█ a comfort level that finally achieves maturity. █
█ Co-founder Fred Schendel is a master of the █
█ keyboards, showing off new found energy on █
█ electric piano, strange how that instrument is █
█ often a benchmark for musicians looking for that █
█ higher plane. █
█ The epic "No Man's Land" is a track I can relate █
█ to both musically as well as historically, as I █
█ was being carried as a six-month old child across █
█ the Iron Curtain , in my father's shielding arms , █
█ as gunfire erupted when we were already in the █
█ 'killing zone' between Austria (freedom) and █
█ communist oppression in Hungary. Musically, all █
█ the emotions are surely entwined , woven in a █
█ variety of silky passages, from soft and gentle, █
█ to sentimental, to actively bellicose, almost King █
█ Crimson-ish (this is the newfangled addition in █
█ the Glass Hammer style) in the mid- and final █
█ sections. Rambling organ reminds us that KC was no █
█ keyboard virtuoso's showcase, but the gloom and █
█ doom are definitely "Bible Black". This eeriness █
█ is most welcome, as its gives the band new impetus █
█ while strictly adhering to the subject matter of █
█ this opus. The spoken word poetry is forlorn, █
█ despondent and imbued with the glacial droplets of █
█ fear and death. Easily one of GH's finest tracks, █
█ a modern, historic, propulsive and melancholic █
█ piece of music. █
█ The title track introduces colossal symphonics in █
█ the form of pipe organ blasts, as in some kind of █
█ keyboard artillery barrage, elevating another █
█ exhausted soldier's voice, pleading from some █
█ respite, as if some nebulous mist has permeated █
█ the battlefield of sounds. There is a Beatles-like █
█ dreamy passage that presents another new facet to █
█ the growing GH sound palette. █
█ Top of the class is "Fog of War", a gruesome █
█ assault on the prog senses, lavished with bass █
█ cannonades that bruise and concuss, an active █
█ Raulston drum kit that is used as a missile █
█ launcher of deadly and precise beats, tortuous █
█ sniper fire keyboard volleys and a fusillade of █
█ machine gun guitars that seek out and destroy. █
█ Vocalist Susie Bogdanowicz takes a larger part of █
█ the stage, fulfilling the wants of the fan base █
█ and the needs of the musicians. Steve Babb does █
█ sound like the sadly departed Squire but he also █
█ possesses a tone reminiscent of Peter Hook of New █
█ Order fame, by all accounts both very upfront and █
█ in your face bassists, for which we all should █
█ remain thankful that the crown is still being worn █
█ by the 'hidden ones'. █
█ Follow that up by the blissful epic "Dead and █
█ Gone", featuring a glory-draped vocal plaint from █
█ Bogdanowicz, spooky organ in tow slowly burning █
█ through the soul, the band sounds very much like █
█ fellow proggers Magenta, the voice neighbouring █
█ Christina Booth's , a vibrant compliment in my █
█ mind. The arrangement evolves into something █
█ raunchier in the mid-section, a dazzling organ █
█ solo at first and then a darker and heavier march █
█ into battle. A return to the solemnity of the █
█ opening minutes, deeply emotive and serene, █
█ displaying a sense of restraint that is again █
█ quite new to GH. █
█ The short ballad "Eucatastrophe" is sizzling with █
█ ominous drippings, but the classical guitar █
█ leadership is given full value with a tearfully █
█ poignant Bogdanowicz rendition, gentle █
█ orchestrations for company. The second part is █
█ Jⁿrgen Fritz-like organ plastering (sounding like █
█ vintage Triumvirat), sombre themes and desolate █
█ ending. This bleeds (pun) nicely into the stately █
█ "Rapturo", a demure nocturne that shows off █
█ tremendous sensitivities, symphonically morphing █
█ into a mellotron and drum concoction, slow and █
█ gentle, imperial and riveting. The sun sets █
█ melodically on an inspired performance, sourcing █
█ new motivations and innovative tweaks that show a █
█ band clearly progressing beyond its alleged █
█ limitations, as GH was often cruelly pilloried for █
█ being too close to a Yes clone, the Jon Davison █
█ episode certainly fueling the fire of unjust █
█ gossip. This trivial branding can now be buried in █
█ some appropriate military cemetery as GH has found █
█ a new level of creativity and a wider panorama of █
█ sounds. Really impressive release and harbinger of █
█ things to come. █
█ █
█ --- █
█ █
█ Using a more open space, 'live' recording style, █
█ this band of American veterans has produced what █
█ is, in my opinion, their best album ever. The █
█ sound here is often quite similar to that of their █
█ 'vintage-instruments-only' magnum masterpiece that █
█ they contributed to the 2005 Colossus █
█ Magazine/Musea Records production of Odyssey: The █
█ Greatest Tale. I have not actually contributed █
█ many reviews to Glass Hammer releases because they █
█ have never really connected or resonated with me █
█ before. (Their NeoProg bombast is usually so █
█ cheezy and over-the-top Yes- imitative as to not █
█ feel worth my time--especially since I do not █
█ generally like to give poor reviews--[unless a █
█ bubble needs bursting]. Until now, Glass Hammer █
█ was free to go about doing what they do [imitate █
█ Yes] and I would respectfully leave them alone). █
█ 1. "The Fields We Know" (7:37) opens familiarly █
█ but then enters into Olympus with the multi-voiced █
█ chorus. Despite the presence of oft over-used and █
█ domineering Hammond organ and Rickenbacker bass, █
█ the boys use the two in different enough ways to █
█ allow the melodies and music to feel fresh and not █
█ bombastic. (9/10) █
█ 2. "Golden Days" (6:20) Though I like all of the █
█ vocal contributions to this album, having Susie █
█ Bogdanowicz on lead vocals certainly does make for █
█ an improved sound. Great melodies and key/chord █
█ progressions throughout. (9/10) █
█ 3. "No Man's Land" (14:20) opens with a rather █
█ long introduction (nearly three minutes) █
█ containing some beautiful instrumental soundscapes █
█ and chord progressions before the music shifts █
█ into a more syncopated stop-and-go section in █
█ which tuned percussion and acoustic guitars are █
█ given some of the spotlight. A minute later chunky █
█ bass, Hammond organ, Steve-Howe-like guitar sounds █
█ and riffs and synth washes help support Susie's █
█ lead vocal during the first verse. The chorus is █
█ more of a collective, male-dominated affair, but █
█ then Susie regains the lead with the second verse. █
█ The song gets a little funky and a little █
█ predictable in the second half--especially in the █
█ use of the organ. The vocals get mixed up quite a █
█ bit, but then those Hammond runs come in and kind █
█ of remind us of why prog died out in the 70s ("too █
█ much of that organ" my daughter would say). (8/10) █
█ 4. "Nexus Girl" (2:58) is a very modern sounding █
█ little instrumental that opens with some great █
█ keyboard work supported by some kind of █
█ techno-trip hoppy computer-programmed drums. █
█ Again, some extraordinary ear candy in the form of █
█ the chord progressions, melodies and solos from █
█ the lead instruments (synths, MONO-like tremolo █
█ electric guitar). Great song! (10/10) █
█ 5. "Valkyrie" (5:54) opens in a very Neo Prog █
█ fashion with BIG instrumental intro (including █
█ Wurlitzer-sounding church organ) before everything █
█ quiets down to support a vocal that is interesting █
█ for its muted effect for the first verse. The █
█ second verse allows the vocalist(s) to go unmuted. █
█ Nice melody--which is eventually taken over by Ms. █
█ Bogdanowicz. Nice! (9/10) █
█ 6. "Fog Of War" (8:23) finds the band, █
█ unfortunately, reverting to YES-imitation (Drama's █
█ "Tempus Fugit" and others comes to mind █
█ immediately). A lead vocal by Susie Bogdanowicz █
█ does much to distract us, but then a male takes █
█ over in a temporary RUSH-like passage. Back to YES █
█ for the fifth minute. Well executed and just █
█ original enough to be a total ripoff, but, still . █
█ . . Yes was Yes, this is now. (7/10) █
█ 7. "Dead And Gone" (9:56) for the first 3:35, this █
█ is a fairly simply structured and instrumented █
█ song over which Susie Bogdanowicz sings a gorgeous █
█ plaintive lyric about soldiers (as metaphor for ) █
█ But then the ELP-like Hammond bombast enters and █
█ threatens to take over. Luckily, this is fairly █
█ short-lived, until a GENESIS-like section takes █
█ over for a Steve Babb's brief turn at lead vocal. █
█ By 6:30 we're back to the simplicity and beauty of █
█ the first section. Some of the instruments do █
█ crank up their volume and intensity a bit in the █
█ eighth minute before a heavier, funky, effected █
█ instrumental section takes over before another █
█ brief Steve Babb vocal. Then, at the nine minute █
█ mark the music shifts to fast, more ELP █
█ instrumental bombast. I guess it's hardwired in █
█ these guys by now . . . (8/10) █
█ 8. "Eucatastrophe" (3:30) opens with the █
█ arpeggiated chords that ended GENESIS' "Cinema █
█ Show" before shifting into a gentle acoustic █
█ support for Susie Bogdanowicz' gorgeous lead █
█ vocal--which is sung mostly in the upper registers █
█ with her head voice. At the two-minute mark begins █
█ an instrumental onslaught led by Hammond organ and █
█ Rickebacker bass to end the song. Odd and █
█ incongruous--earning it's marks for the gorgeous █
█ first two minutes. (9/10) █
█ 9. "Rapturo" (6:12) opens with a couple of █
█ bell-like synth notes being played percussively █
█ while echo-y piano emotionally fills some of the █
█ lower end spaciousness. Really pretty! And then at █
█ the 2:25 mark drums, synths and Susie █
█ Bogdanowicz's gorgeous, almost angelic vocal fill █
█ the cathedral skies. The end of the depression is █
█ always uplifting but at the same time scary cuz █
█ you never know when 'the Dark One' will return. █
█ Thank god this one did not venture into Yes-land. █
█ If anything, it stayed in Post Rock territory! █
█ Gorgeous and powerful song! (10/10) █
█ Despite producing one of my all-time favorite prog █
█ epics for the Odyssey: The Greatest Tale project, █
█ GLASS HAMMER has had a great deal of trouble █
█ winning me into their corner. With Valkyrie they █
█ may have finally done it! Four stars; an excellent █
█ addition to any prog rock music collection. █
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░ 1. The Fields We Know 7:37 ░
░ 2. Golden Days 6:20 ░
░ 3. No Man's Land 14:20 ░
░ 4. Nexus Girl 2:58 ░
░ 5. Valkyrie 5:54 ░
░ 6. Fog of War 8:27 ░
░ 7. Dead and Gone 9:58 ░
░ 8. Eucatastrophe 3:26 ░
░ 9. Rapturo 6:04 ░
░ 65:04 ░
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