GLASS HAMMER

I had the pleasure earlier this year to interview Glass Hammer upon the release of Ode to Echo for Prog Sphere Magazine. Among other insights, one thing that really served to elucidate the way I interpreted their music was the way they explained their band name. Originally inspired by a K.W. Jeter novel, the name Glass Hammer has gone on to represent a supposed paradox, something supposedly fragile and simultaneously powerful. Indeed, you can hear this navigation between the 'glass' and 'hammer' in a lot of the symphonic prog that preceded, and subsequently inspired Glass Hammer's sound; the same is doubly true for the classical repertoire that, in turn, inspired symphonic prog rock to begin with. The most impressive examples of the genre (including some of Glass Hammer's material, most notably 2010's If) feature conventionally beautiful timbres and instrumental pyrotechnics uplifting one another beautifully. The resulting feeling of warmth is one I've been hard-pressed to find in any other style of music.

With Glass Hammer's 15th (!!!) full-length Ode to Echo, it feels like that dichotomy- having veered moreso towards the 'fragile'- is a bit off. Normally I should be jumping at the sound of a philosophical concept album surrounding the myth of Narcissus, but the album surprisingly doesn't grip me the way I may have been hoping for. The warm, symphonic palette is here to bask in, but for all of their obvious skill and tightness as a band, Glass Hammer aren't all that exciting of a listen this time around. What we essentially have here is a well-performed, intriguingly conceptual piece that doesn't quite make its ends meet.

While detractors of Glass Hammer have attempted to label them as a Yes clone, I think even they would have a hard time pegging that association on Glass Hammer's more streamlined approach this time around. Most symphonic prog (with Yes in particular) have a tendency to favour instrumental fireworks and wild dynamics (once again, speaking of the fragile/power dichotomy). That was true for some of the band's earlier work, but with Ode to Echo, they're remarkably modest in their displays of technique. Perhaps it ties in with the album's concept (more on that later); as it practically affects the music, Glass Hammer seem to be playing below their instrumental capability. For an album that nearly reaches an hour in length, Ode to Echo feels scarce of passages that test the band to their limits.

Being that Ode to Echo generally underwhelms me on the technical end, it's surprising how sophisticated they've made some of these vocal harmonies. With three principal vocalists and most of the rest of Glass Hammer offering backup support, the voice takes a much greater space here than what I'm used to hearing in progressive rock. From the multiple overlapping parts on "Misantrog" alone, it's obvious that Glass Hammer have invested a lot of thought into the way the vocals work on the album. Given how rich in concept Ode to Echo is meant to be, this isn't particularly surprising.

For its subdued approach, Ode to Echo takes at least a few listens to properly warm up to it. While I'm partial to the gorgeous Porcupine Tree-sounding finish on "Crowbone" and the tense build in "Panegyric", "Garden of Hedon" probably stands out as the most consistent and well-composed piece of the lot. In terms of its songwriting, Ode to Echo stands as one of those albums that benefits more from individually strong ideas moreso than the way they're strung together in songs. The would-be epic "Misantrog" for example, carries solid firepower courtesy of its byzantine vocal parts, but the way the passages flow from one to another sounds rushed. The same goes for "Panegyric", which begins for two minutes like the start of some album-defining epic, only to dwindle down to another soft vocal passage. Most of the times Glass Hammer heightens my anticipation of Ode to Echo, I feel disappointed with the result. Once again, this might have been averted if their balance of power and fragility had been just a little more even.

I feel one day I will write a full-blown essay about the American symphonic prog scene; while the United States is hardly the first place I'd think of when talking about most styles of progressive rock, there is a vocal stable of symphonic rockers with predominantly Christian beliefs. While some (most notably Neal Morse, and his Testimony series) espouse their religious leanings bluntly, Glass Hammer have conducted their narrative exploration of Christian virtue and humility in a pretty intellectually engaging way; consequently, it's the concept of Ode to Echo itself that stands as its strongest ingredient. It's clear from the onset that Glass Hammer condemn Narcissus' all-consuming selfishness and the effect it has on the lovestruck Echo. Keeping Glass Hammer's religious sentiment in mind, there's a near-certain similarity between the "Garden of Hedon" Glass Hammer introduces us to at the album's beginning, and the Garden of Eden, itself defined by a fateful meeting of man and woman. Beyond Ode to Echo's mythical inspirations, Glass Hammer's concept is rooted in reality, and like all great myth, it shines light on aspects of real life. Ode to Echo explores the pains caused by the real-life Narcissists and psychopaths of the world; more than that, it is a tribute to those who have felt those pains firsthand, as well as a warning to all who may bear them in the future. As Glass Hammer beautifully summarize in the album's final lyric: "We folk with empathy must ever be on guard for those without."

If that final line of the album doesn't already conjure to mind the names and faces of people to whom it certainly applies, you eventually will. It's rare that I ever find myself more interested in an album's concept than the music itself, but that Ode to Echo touches upon a corner of philosophy that can affect (and in some cases, ruin) real lives makes it feel essential to the album's appreciation. With their critical zenith having been recent in the forms of If and Cor Cordium (not to mention Jon Davison's recent tenure as the new frontman for Yes), it seems Glass Hammer are enjoying a hype shared by few in the avenues of 'traditional' progressive rock. I may hesitate to call Ode to Echo a great album, but it's certainly enough to underline Glass Hammer as a potentially fantastic band. I may have been resistant a few years back when I was first alerted to a symphonic prog revival, but when Glass Hammer remind me here almost as much of Porcupine Tree as your typical Yeses and Genesises, it's clear- if nothing else- that the style can feel modern and fresh in the right hands.

Glass Hammer appear to be the American answer to THE FLOWER KINGS, but this time, apart from the evident YES influence, there are some strong E.L.P. vibes throughout the album due to the frequent use of Hammond organ and the display of some jazzier keyboard interludes next to the bombastic side of Symphonic Rock.With each release the songwriting and overall arrangements of Glass Hammer sound more tight, cohesive and eventually convincing.They have this recognizable American flavor of new US Prog bands through the ethereal vocals and the more pompous vocal/instrumental deliveries, but the music is heavily influenced by the British Prog scene.This time there are some beautiful vocal melodies and sweet instrumental flashes placed next to the more virtuosic organ-drenched offerings and powerful keyboard solos, while the presence of an accomplished little team on guitars adds some great guitar moves and solos.The album lacks long, epic tracks, but the musicianship is always proggy and highly symphonic with references both to modern and old trends, organ and Mellotron sit next to dreamy synthesizers and plenty of Classical piano lines.The best asset of this fourth studio album comes from the trully memorable tunes and the presence of a great singer in the unknown Brad Madler.The result is a pretty satisfying Neo/Symphonic Prog effort with emphasis on delightful keyboard themes, but also some great guitar work.

The strongest work of Glass Hammer from the 1990-2000 decade.Progressive Rock with an exhibition of romantic melodies, grandiose orchestrations and E.L.P.-styled masturbations.Strongly recommended...3.5 stars.

The eight tracks are in different quality according to my taste. Glass hammer has a symphonic touch but not in particular. It is also quite straight rock but filled with progressive parts. It doesn't really fit my taste of music so I can't give it very much credit. I am more into the seventies' prog actually. This though contains a lot of high standard. The longest track "Misantrog" is also the most interesting, very progressive and not too explossive(7/10). I also like the instrumental parts of "Panegryic"(7/10) very much and the Beatles feeling of "Porpoise song"(6/10) aren't wrong at all as well as the "Garden of Hedon"(6/10) makes you feel quite satisfied. The other songs aren't so interesting and sometimes I thought it almost was hard to enjoy it at all. Especially "The grey hills"(4/10) was problematic.

Glass Hammar's "Ode to Echo" contains a lot in music, different instruments and prog aspects. But I had hard to get any interest for it. I will give it three weak stars.

I think this is a noteworthy slice of finely crafted modern symphonic prog. Also the art work from the worlds of Greek mythology and the classic art history is more fascinating than yet another Roger Dean landscape... The music is loaded with retro-oriented keyboards of Fred Schendel - and vocal harmonies, which is a typical feature in the US prog. Jon Davison is only one of three "lead vocals" here (others are Carl Growes and Susie Bogdanowicz) and there are many more vocals too, both from the core members and guests. Steve Babb's bass playing is a pleasure to spot throughout the album. Guitars perhaps remain too secondary on the long run.

The 52-minute album is a safe and pleasing, almost surpriseless, listening experience. Not much sticks to one's memory, but it feels natural to give it another spin right away. By listening the fine 10- minute 'Misantrog' you'd get a pretty good picture of the whole album; to some point it feels rather samey and lacks truly memorable moments. Tracks such as 'I Am I' - a dialogue between Echo and Narcissus - features plenty of complexity, but also the feeling of flying near the ground. The GENESIS epic 'Fountain of Salmacis' wipes floors with this music when it comes to the drama power and dynamics. Hey, now I figure out what's the problem: this music is too even, lacking of strong contrasts. Someone wrote "progginess just for the sake of sounding proggy" and I have to agree. As a background listening it works marvellously.

I don't know the origins of Gerry Coffin / Carole King -penned 'Porpoise Song' but I dislike the 60's psychedelic flavour in this version. Easily the worst track. Highlights include 'Crowbone' with a cool guest appearance of violin, cal and chamber music flavoured 'Panegyric' for Susie's voice, and perhaps the closing track 'Ozymandias' as a good example of the use of vocal harmonies and a colourful keyboard arsenal. Warm organ and electric piano are the most heard ones I guess; Wakemanesque melodic brightness is mostly mising.

As you can see, I'm not sure whether I'm fond of this album or do I find it slightly boring. Probably both. You better try yourself. 3½ stars.

Tracks like opener `Come On, Come On' and the sun-kissed cover of The Zombies' `A Rose for Emily' have a Beatles-esque 60's psychedelic pop flavour, Susie's voice offering breathy sighs. The confident acoustic guitar driven gothic ballad `A Bitter Wind' is one of the absolute album highlights, with weeping Mellotron weaving around Susie's wilting tones during the sublime repeated chorus, and it's pretty much a perfect Glass Hammer piece. Fred especially excels on both the strident and somewhat jaunty `The Mid-Life Weird', which wouldn't have sounded out of place as a breather on earlier album `Lex Rex', and sophisticated ballad `Sundown Shores' glistens with his tasteful piano playing and warm urgent vocal.

Several other tracks take some unexpected and welcome changes of direction. `The Curse They Weave' is very surprising, exciting and moody electro pop with dark slinking grooves, and it works a treat! There's a refreshing brooding heavier atmosphere on `The Lure of Dreams', with Steve's thick reverbreating bass, plus imposing Hammond organ, forceful drumming and intimidating searing Mellotron. `Sleep On' has nice muscular electric guitar workouts that wouldn't have sounded out of place on a Dream Theater album, while the ambitious `Schrodinger's Lament' has snarling sludgy riffs over somewhat distracting ranted spoken-word samples that drops in and out of floating spectral passsages that almost take on a dreamy Beach Boy's `Surf's Up' quality.

The almost 8 minute `Hyperbole' is the most overtly proggy standout here, but also easily one of the most contemporary and modern sounding pieces ever to appear on a Glass Hammer album. Dominated by Steve's bouncy leaping bass, a brisk up-tempo relentless beat drives electric guitar fire and infernal Mellotron choirs almost sounding like the later Porcupine Tree discs, twisting turning time-changes, ballistic synth soloing, and even Susie bringing a tougher vocal to carry the catchy repeated chorus home. I'd love the band to head in this direction again sometime soon, so many potential new directions they could investigate! Album closer `Falling' is a classy retro piano ballad from Fred that sounds just like the sort of multi-harmony honey-dipped pop that retro-rocker Matthew Sweet excelled at, and it's just as good. A gorgeous Mellotron outro closes the album perfectly.

Of course there's some filler scattered briefly throughout the eleven tracks, and the cover itself is not very special (although it's pretty inspiring to see the results of Fred's weightloss - way to go, buddy!), but `Three Cheers' frequently bristles with a relaxed energy that being free of ambitious extended and vintage flavoured proggy arrangements allowed the band. Despite some 60's pastiche here and there, this is the furthest Glass Hammer ever drifted from the vintage/retro-prog sound, and it seems fresh and full of untapped potential. I feel albums like this are more interesting and appreciated when looking back over a long discography of an artist, where risks and formula shakeups can be admired. It's a shame that the reaction from stuffier, perhaps older prog fans ensured that Glass Hammer never tried anything like this again (to date). As much as I still enjoy their albums from `If' onwards, it seems like the band had a massive panic attack from the response to this and raced back to the safe comfort of 70's sounds from then on.

The connection with Yes may have brought the band and their recent works more popularity and status, but even before Jon Davison joined their ranks, Glass Hammer already had a number of superb modern symphonic prog works in their career, and `Three Cheers for the Broken Hearted' was a very respectable diversion for patient lovers of the band, with frequently daring and unexpected experiments that we may never get to hear the likes of from them again. It's an album that revealed more variety and their own unique personality a little more than the 70's love-fests that have come since, and I wish the band would take a chance like this again...or that more of their fans would allow them to.

Three and a half stars.

The time is ripe for Glass Hammer to re-examine the way ahead. They have proved over many years that they can do so much better than this. This is, IMO, by far their poorest offering to date, worse even than either "Lex Rex" or "Culture of Ascent", which is really saying something.

This is the kind of thing Yes should be putting out. This implies that this is something of a Yes "copy" or even tribute. I'd say the latter is more accurate than the former, as the more I listen to this album, the less the music really sounds like Yes (though there are certainly some extremely similar.......some would say "rip off".......moments).

I think the main similarity is the vocals of Jon Davison. Of course, he is now the full time vocalist for Yes, and performed for a Yes tribute band for many years. The resemblance is uncanny, so it's no surprise that the Yes comparisons are made. Then we have the guitarist, who sounds remarkably like a young Steve Howe, and was almost certainly heavily inspired by him. The bass has that heavy Rickenbacker overdriven sound that Squire was always known for, and the keys use a lot of vintage sounds, many of which were used by Yes in their heyday. The cover art is great, though again, the similarity to one Rodger Dean can not be ignored here either.

So two paragraphs in and I'm STILL comparing that band to Yes. For many people, this is where they decide that it's not for them, they don't need another prog band trying to recreate the glories of a more famous 70's prog band, etc. This was my first thought upon hearing it the first time as well. However, repeated listens have opened this album up to me as a valid and enjoyable work in its own right. There is no denying the Yes similarities, but since when has Yes produced an album as good as this? I would say not for at least 20 years. So to me, this is a welcome addition to my collection. Beautiful melodies, stirring orchestral crescendos, fantastic guitar and keys solos, odd time signatures........but most of all, emotional impact. This album moves me like Yes albums of old used to. Sure, it's not as innovative and "new" as those albums were upon release. This is unquestionably retro prog, with a heavy Yes influence. Yet, it is also a beautifully, well written and arranged prog rock album that after 2 years I still haven't gotten tired of hearing. To me, that is enough to make it essential. Tracks 1, 5, and 6 are my firm favorites, also sounding the most Yes-like, incidentally, but every song has something I like. Behold The Ziddle is the one where the Yes comparisons break down a bit, though I suppose it has some correlation to the heavier and wilder parts of the Yes' catalog.

Basically, if the constant references to Yes haven't put you off yet, then you need to own this album. For my personal taste it really is a 4 star album, but in the scope of prog music and this site I'm going to round down to 3 stars, as I don't think I can honestly say it is an "excellent addition to ANY prog rock music collection". Just to mine, and perhaps yours, if you love Yes and wish they would make good symphonic prog again.

Glass Hammer took a lot of heat from prog fans over IF and then Cor Cordium as the band tipped their hat to Yes in admiration. (I personally love those two albums) It wasn't for lack of excellent musicianship but the debate revolved around originality and not being "progressive" enough as opposed to being more retro. Ode to Echo should silence the naysayers. This is Glass Hammer centering themselves on who they are as a band and creating some fantastic new prog music in the process.

As much of a fan of Jon Davison as I am, I love, and after listening to this release, prefer the blend of vocalists Ode to Echo uses. The band uses the strengths of each to paint their picture. Carl Groves takes the lead and has never sounded so good. Jon Davison adds his unique voice and style while Susie Bogdanowicz parts are perfectly placed as the voice of "Echo" in "I Am I" and the hauntingly beautiful "Panegyric". Add Fred, Steve, Kamran and Aaron's mastery of their instruments and you have a "must have" prog album.

I personally find a lot more direction and intentionality and less prog wandering for the sake of a longer song. Ode to Echo is a mix of shorter and longer tracks that are all strongly tied into the theme of Narcissus and Echo and their love for themselves. While not a pure concept album that tells a single story, every song speaks to the theme of the album.

Ode to Echo captures what this band is all about and I highly recommend it to any prog fan looking for some of the best new prog music being put out today.