SKALLAGRIM: INTO THE BREACH

I'm not writing this as a professional or snobbish critic but as a long time GH fan. The first project I heard of them was Lex Rex and I have enjoyed the many facets of the creativity of the Babb and Schendel show.

One of the things that can irritate me about reading reviews, and in particular most of the reviews of GH indicate they sound like something or someone else. Lets address this - apart from the occasional Yes, ELP, Rush, Genesis, etc that come out with a unique sound -- there are relatively few of these "master" artists in each era. We were incredibly blessed (those my age) to have gone through that era of progressive rock from the 60's and 70's. But make no mistake, that kind of music existed, just not in the rock n roll catalog. They all cut their teeth on classical music and transmutated it into rock n roll and it became its own genre. That doesn't happen very often.

I enjoyed the "Yes" era of Glass Hammer more than any Yes album they produced after Tormato (lol yes I actually liked that one). GH had a love for that early Yes sound, had the chops, had the right singer - so why not? I loved, and still love Secret through Perilous.

Does this project have hints/tints of other bands? I'm sure it does, but I for one don't go into a project looking to critique it, and pick it apart for what it sounds like, and examine every verse, chorus and meter for how clever it is. Its just like a new movie - I have probably seen the basic plot a thousand times but I still go to that movie wanting to be entertained. I could ruin (probably 99% of all movies) it for myself and everyone else if I really wanted to.

Let me say, as a fan and music lover of almost all types - I absolutely love this latest project of GH. I got it early and have been listening to it every day since. It has a hard rock edge yet stays melodic; it is dark but whispers hope; it has a story that I am invested in, has a surprise twist to it (at least for the die hard GH fans), and I am very interested in how this tale will unfold in the third installment of the trilogy. I honestly could care less if it sounds like anything else - I am enjoying it as its own work very, very much. With the state of art and culture today - where I cannot bear to listen to more than 30 seconds of what is America's top choices for "music," this band and project is well worth supporting in a small $15 investment.

I think that GH just keeps getting better - and I am very happy they are producing fantastic prog rock for us to enjoy practically every year (14 full length projects in 18 years!). Thank you Steve, Fred, Aaron, and new member Hannah, I appreciate and love Skallgrim!!

PS - what a find with the new vocalist -- WOW.

Peace -

Skallagrim is an unique kind of sound that is atypical of Glass Hammer, at least from most of their work, and it's great! I love all of Glass Hammers albums, especially Lex Rex, but this "adventure" into a harder sound is fabulous. The new primary lead singer Hannah Pryor is a welcomed change from Susie B. , who seemed limited in regards to her vocal range and had become seemingly "boring" over the years (no offense or disrespect intended, since she excelled in earlier times), giving the band a fresh presentation that will most certainly gain attention and result in great reviews. As far of sound influences, I would name Rush as the primary, as well as Uriah Heep, Black Sabbath (yep, at least on one, maybe 2 tracks), Van Halen, Motorpsycho, Kansas, and even a little bit of Alan Parsons. As usual, well done Steve and Fred (along with the rest of the band). So glad to know you both love Christ and continue to exercise your God-given talents resulting in the enjoyment of many others.

I'm finally writing a review of the band who has had a special place in my heart for 20 years or so. I first ran across GH shortly after I moved to Chattanooga, TN. their hometown in 1998. I bought the "Shadowlands" CD and was blown away when I saw they were from my town so I contacted Steve and became good fast friends with Him and Fred, the core of GH. Even to the point of being a guest at their studio, Sound Resources, several times and was fortunate to see them live first at belmont in Nashville, then at the Tivoli in Chattanooga where me and a buddy got to help behind the scenes, and then again at Rhythm and Brews when Aaron first joined the band. Shortly thereafter i moved a long way away but of course have kept up with their music and Steve on social media so I am still very invested in their music. Along the way I lost some interest with "Ode to Echo", "Breaking of the World" and Valkyrie" which just didnt move me like the period of "Lex Rex, Shadowlands, and The Inconsolable Secret" or the "IF" period with Jon Davison. Until "Chromonaut", which was a real true to form retro prog record, and then last years "Dreaming City" which saw them delve into harder, edgier, even darker material. Both of these were very fresh to me in a way the last few had not been so much, at least for me. So that brings to me their hardest, edgiest, and darkest album of all that continues the story of the love lost thief protagonist of the first chapter of this trilogy that started with Dreaming City. I'm going to mainly concentrate on the musical side of things and not so much the lyrics or story at this time. Track by track: 1)He's got a girl (9.0)- haunting brief intro that introduces Hannah Pryor to the GH world. Starts with beautiful simple piano melody. 2)Anthem to Andorath (8.0)- Comes out of the gate with guns blazing. Great riff with some soaring vocals by Hannah, but she's just getting warmed up. I kind of wanted this song to go a little further or deeper that's why the 8.0 rating instead of a 9 or 10. 3)Sellsword (8.5)- the first riffs here are pretty unrecognizable as GH. this one had to grow on me some and still is. again great vocal. Hardest song on the album. 4)Steel (9.0)- A great song that mixes more old style symphonic prog with the new almost prog-metal sound. This one solidifies Hanna as a keeper! 5)A Spell upon his mind, 6)Moon Pool, and 7)The Dark (8.0)-All instrumentals very different from each other and intriguing but don't quite grab me like what's about to come or what preceeded it. The Next 5 songs are among the best, IMHO, that they've ever done: 8)-The Ogre of Archon (9.0)- Here's where the Rush influence gets stronger and even other classic rock bands like Blue Oyster cult and Black Sabbath are heard. Steve and Fred handle the vocals well and there's some great vintage keys by Fred on this one that are sorely missed on alot of this album. 9)-Into the Breach (9.0)- this one starts out really hard and dark with some great riffs and then again strong vocals from fred and Steve and alot great trading off on keys and guitar solos. 10)-The Forlorn Hope (9.5)-Starts out with their most infectious riff yet and this one stays hard and strong with a soaring vocal by Hanna until that abruptly changes at the midway point to an etheral accoustic section that is as pretty and haunting as anything they've ever recorded. What a great song! 11)- the Writing on the wall (9.5)- by far the most hooky and commercial(sorry Steve) song I've ever heard from GH- and they totally pull it off. Best GH earworm besides "Terminus" from the last record. this should make Hannah a star! 12)- Hyperborea (10)-Ii had to give at least one song a 10. Obviously a Rush tribute from beginning to end and totally worn on their sleeve. But it is still GH, not an imitation, and this song flows so well, and the fact that it captures the "Carees of Steel" period of Rush just shows how much these guys love ALL of Rush. Just blast it loud and ROCK out! 13)-Bright Sword (9.5)- Brief and beautiful end with one beautiful line sung by Hannah. A couple of other notes- the guitars on this-riffs, rhythm, and solos are all note perfect, just not sure which are done by whom, Fred or guest guitarists-Reese Boyd and Brian Brewer, who are both monsters. Aaron Raulston's drumming is his best so far-move it up in the mix Steve! The mix is overall very good and brings the vocals more forefront than they've been sometimes in the past. That obviously is a nod to the power of hannah's vocals. And Steve's bass work fits this music to a tee, so powerful yet melodic all the way through. He has found his true home! This is just a great album whether it is from friends of mine or not, but I guess I am a little biased. After 30 years or so of making great music they've truly made one of their best. And it ROCKS hard! Thanks guys! love and miss ya'll. David.

U.S. proggers Glass Hammer follow up their 2020 Dreaming City album, with Skallagrim: Into the Breach; the second album in a planned trilogy paying homage to the sword and sorcery novels of the '60s and '70s, and by inference the prog-infused hard rock of the '70s. Dark, heavy and bass driven at times, yet with enough of the band's keyboard-led 'proggery' to please their loyal fanbase and bring in fresh devotees as well.

Formed back in 1992 by Steve Babb and Fred Schendel, Glass Hammer have always had a chameleon-like character to their sound ? often defined by their shifting line-ups. This has often made it difficult to know what to expect from the band, from one album to another. Driving, retro classic and progressive rock, but also symphonic rock elements (the Jon Davison-era, especially), with folky and poppy moments throughout their extended back catalogue. It is very much a case of diving into Forrest Gump's chocolate box and seeing what you find. It can be a leap of faith, but one that can reward prog rock listeners who enjoy a bit of diversity and some surprises along the way.

Dreaming City, the first part of the fantasy-based trilogy, was imbued with the spirit of Michael Moorcock's Elric of Melniboné novels, with touches of the likes of the Hawkmoon and Eternal Champion stories that hooked many a teenager in the early '70s ? myself included. The band have not been averse to science fiction and fantasy themes in the past, including the works of Tolkien, and Steve Babb has been inspired to pen his own novel, Skallagrim: In the Valley of Pagarna, set for publication in 2022.

The narrative follows the thief, Skallagrim, armed with his screaming sword, Terminus, leaving Archon (The Dreaming City) to travel to savage and magical lands in search of his memories and the hope of finding the girl he has loved and lost. This latest album continues the quest and sees our protagonist going to war. As a result, the album is even darker, heavier and angrier than its predecessor ? both musically and lyrically.

Babb and Schendel are joined by guest musicians Aaron Raulson on drums, with Reese Boyd and Brian Brewer sharing lead guitar duties. The album also introduces new vocalist Hannah Pryor, and it is her dreamy voice floating over a gentle piano theme that starts proceedings. Opening track He's Got A Girl is an understated start, but it soon transforms into the powerful, riff-driven sound of Anthem to Andorath, which hits you right between the eyes. There is an almost Metallica-like feel to the guitars, and Babb's huge bass sound dominates as Pryor's vocals manage to glide over this dense foundation and yet pierce through it at the same time.

Sellsword continues in a similar style, with Sabbath-style guitar work joined by forceful keyboard chords. We are not in prog metal territory here ? this is full-on '70s hard rock with hints of Uriah Heep and Budgie to accompany the narrative, as the battle rages on. Steel has more light and shade and whilst still very muscular overall, there are more traditional prog-orientated chunks of keyboard within the ominous ensemble instrumentation. Pryor's voice once again cuts through the wall of sound with both power and clarity.

A well-timed change in both atmosphere and tempo occurs with a trio of instrumental tracks. A Spell Upon His Mind has pulsating keyboards and effects, with the electronica accompanied by haunting guitar overtones. Moon Pool has a hypnotic jazz-influenced drum and bass beat dominating, but the unsettling, spacey atmosphere is maintained by the intertwining guitar and keyboards. Finally, The Dark re-emphasises the dark and menacing atmospherics with deep chiming guitar over a rich ELP-flavoured Hammond organ.

Moving into the heart of the album, The Ogre of Archon has Babb take over the vocal duties and this helps give the track a heavier Jethro Tull style at times, mixed with hints of Groundhogs and the Zeppelin-influenced sound of Rush's debut album ? with the bass propelling the music along with retro keyboards and soaring guitars aplenty. Into the Breach continues this driving amalgam of '70s rock, including psychedelic/space rock at times, with the Hammond organ keeping the prog-quotient high.

Pryor's singing on The Forlorn Hope contrasts nicely with the heavy music, as Skallagrim's quest continues. However, there is a refreshing switch in tone as acoustic guitar and a pastoral Wishbone Ash-style is introduced mid-way, and the "dream on, dream on" vocal refrain signals a return of our thief's memories, long dormant, of his lost love and her name ? Lirazel.

The Writing on the Wall is dominated by a rumbling, swaying, funky tempo, and it definitely gets your head nodding in time to the music under the powerful vocals, as it progressively builds up in intensity. The band have fun with some Tarkus-like keyboard patterns and the catchy chorus makes this one of the most accessible tracks, encapsulating the overall feel of the whole album in one track.

At just under 10 minutes in duration, Hyperborea is pure classic Rush, with Lifeson-style guitar patterns from the very start. There is more light and shade here, with Xanadu touches to the synthesisers, bells and percussion. It comes over as a genuinely affectionate homage to the Canadian band in their late '70s period, and everyone seems to be having a whale of a time as a result, as our hero sets out for the final part of his quest. Finally, Bright Sword sees Skallagrim reach the iron doors of Zagzagel and reprises the theme from A Desperate Man from the previous album ? all setting everything up perfectly for the final album of the trilogy in the months to come.

If Dreaming City whetted your appetite for Glass Hammer's epic, heavier-style of classic '70s rock with prog flourishes and a dramatic retro-style fantasy narrative, then Skallagrim definitely delivers it once again. It is an album that rewards repeated listening, and whether you embrace the synergy between the music and storyline, or simply enjoy the shifting musical soundscapes, Babb, Schendel and the band are clearly in their element as they knowingly mix the old and new to create something fresh, heavy and powerful, and yet undeniably progressive.

(from THE PROGRESSIVE ASPECT)

This USA formation was founded in 1992 by the two multi-instrumentalists Steve Babb and Fred Schendel, now anno 2021 Glass Hammer have released their 20th studio-album, in almost 30 years. To be honest, it's more than 10 years ago that I listened to a new Glass Hammer album so I was very curious to this latest effort. Well, I am stunned, Glass Hammer goes heavy, what a cascades of smoking guitars and sumptuous Hammond layers, and what a strong female voice, wow!

Anthem To Andorath (from fat guitar riffs to spacey synthesizers, topped with powerful duo vocals) reminds me of Metallica.

Sellsword (embellished with Mellotron choirs and a waw-wah drenched guitar solo) evokes Led Zeppelin to me.

And Hyperborea (strong work on guitar and keyboards) is obviously inspired by Rush.

More Heavy Prog in Steel (heavy guitars and powerful Hammond), The Dark (swirling Hammond and rocking guitars), The Ogre Of Archon (biting wah-wah guitar and another powerful Hammond solo) and Into The Breach (blistering guitar runs).

But Glass Hammer also delivers more mellow tracks, and more variety. Like a dreamy sound with celestial female vocals in the short opener He's Got a Girl. Spacey synthesizers and tasteful sequencing in A Spell Upon His Mind. An atmospheric climate with percussion and guitar in Moon Pool. And In The Forlorn Hope the heavy and bombastic sound turns halfway into a mellow folky atmosphere featuring dreamy female vocals, guitar and keyboards, a nice musical twist.

What a strong, dynamic and varied album, I am pleasantly surprised by this new Glass Hammer sound, and I love that distinctive Hammond-heavy guitar combo, reminding me of Vanilla Fudge, Atomic Rooster, Deep Purple and Uriah Heep.

From their symphonic first period, Glass Hammer has added some new ideas in their last releases, but this time they have gone even further exploring the classic hard rock field and space music which made it difficult to think that you are listening to the same band. After a short piano intro, we have the heavy sound of the guitars and a strait forward style with some spacey keys. "Sellssword" continues in the same atmosphere with a nice bass break. For the first time, the keys are upfront but the guitar won't let this for long. "Steel" calm things down and Fred Schendel is displaying all his tools with a fast keyboard part. There is another impressive dark instrumental passage with Steve Babb's bass work in a Pink Floyd first-period atmosphere. This song is the most progressive of the album with many twists and turns. And then the song "A Spell Upon His Mind" is in a completely different style of music with his Tangerine Dream electronica style. The spacey atmosphere continues with the instrumental "Moon Pool" showing another face of Glass Hammer that explores some jazzy and repetitive drums/bass beat. "The Dark" short instrumental brings back some heavy sound with some nice keyboards lines. "The Ogre of Archon" displays some hard rock with a grunge influence. "The Forlorn Hope" and The Writing on the Wall" we can hear influences from Led Zep and Rush at both beginnings of those songs. I am more satisfied with this new album than those they released 10 years ago after "If". Is it because it's heavier and darker? The songs simply connect with me more than those albums.