GLASS HAMMER

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.

Song-wise, this is a bit harder to deconstruct due to the songs being based on the same songwriting scheme. As mentioned, each song will have heavily Genesis, Yes, etc inspired passages with frequent use of organ, Mellotron, and synth, as is custom with symphonic prog. Though there really isn't any weak song on the album, I feel as though it could have been shortened slightly, a problem with many modern albums, no doubt. But this problem is minor, especially when considering the phenomenal production and mixing values; everything is clear and the instruments are given plenty of breathing room.

The highlight of the album is probably the final epic track, 'If the Sun,' which seems like an endless stream of high energy, catchy melodies, but also includes some deep, atmospheric parts as well.

What this album lacks in adventurous music, it makes up for in its melodies and lush atmosphere. If you like catchy melodies one after another, all played in a highly symphonic fashion with superior production, and don't mind the overall derivative nature, then this album is certainly for you.

8/10

But in no way is that going to detract from what is a quite superb album. It is multi-faceted and multi-layered and given that it is basically all the work of just two people (Steve Babb and Fred Schendel) the accomplishment is even more remarkable. When I played this the first time I put it on immediately after playing The Flower Kings, and I was struck by just how different the two albums were. This also brings in many strands and musical styles but they all become part of the overall theme instead of trying to take over the piece. Both guys are strong singers, as well as good musicians and this is an album that I have really enjoyed playing. It is prog that while often based on keyboards also has a strong guitar element and manages to be all things to all progheads as those who want shorter songs can have them while those who want long instrumental passages are also catered for.

It may have been six years since I last reviewed a Glass Hammer album but yet again I find myself recommending that all proggers get hold of this as soon as possible. Visit the band web site at www.glasshammer.com.

Originally appeared in Feedback #70, Oct 02

Glass Hammer consistent lack of passion finally comes to an end. That could be a great news, but the problem is, even if "One" was published in 2010, in fact they are the very first compositions of the band, this time as a duo by its core musicians. When I hear this magnificent (althought simply arranged) album, there's a lot of questions that come to my mind. The more important two are: why didn't they follow this path? Because the music accomplished here is a lot different than any other GH albums (which were composed afterwards), and in this case, the lack of passion (which, in my humble opinion, is the very setback of GH music) is notably absent, and gives way to a construction simple but very connected between tracks. The second question is: after making this, how could they have donesuch a horrible mess as "Journey of the Dunadan"? The answer, I think, lies in their desire to make "complex" music such as their master influences (mainly Yes, but also ELP and, very scarcely, Genesis) and to imitate them. That's why they didn't keep in touch with their own spirit and lost their way. "Chronometree" was a great album, but lacks passion. "Three chears for the broken-hearted" was a good effort (unlike other members, I really enjoyed it), but they are constantly restraining themselves in the composition. "If" was a great album, but it was a YES album, even if Yes didn't make it themselves. Here is where the real Glass Hammer lies. It's a pity it didn't stay afterwards. I really hope someday they'll be reborn.

Grossly neglected by the audience. Five stars for me.

What a beautiful music. it's purring like balsam on the wounds. Vocal is outstanding (just a sample, how history repeats itself); organ and bass work is excellent. Entire album is great, especially last 2 songs (about 35 min) - real masterpieces of prog rock, not less. The more you listen to it, the more you like it. Since release of Close to the Edge a lot of musicians were fascinated and inspired by it. However, nobody came so close and did it so well, as Glass Hammer with their last 3 albums. Artwork is remarkable, as well. as the music. It deserves to be at least on cardboard sleeves.

This album is recommended for Yes fans and for all complex symphonic prog lovers. What, if you're not one of them? Then, it is not necessary to leave your review.

When Glass Hammer said "If", it means: If this album was done by Yes with Anderson vocal, how would you rate it? In other worlds: Is it fair to rate the same music differently, depending on the group name? Is this "buy or die" album? For those, who want that the song never ends, it is. 5 golden stars.

As I see it... With their last 3 albums, guys tried to bring old Yes sound to new level. And in most songs they succeeded, especially in this album, where strings and chores added more layers to the sound. It sounds very dynamic, powerful and gentle at the same time - "intelligent rock", if you will (I picked up somewhere such a word). It is Symphonic Prog of highest caliber. Thanks to stunning vocal, it's definitely early Yes, but 100% ORIGINAL - and that what matters. The same thing could be said about Agents of Mercy toward to Genesis. Having vocalists so close to Andersen and Gabriel, guys from both groups are enjoying to recreate old sound and carrying it on.

It's all about Love and Tradition. Love to our old Prog and carrying on its great Tradition. Thank you guys for been so brave to do that on a such high level. Please don't give up. Only one complain I have: it's a guy on the cover... I am covering him with my finger right now, and the cover looks way better. Someday, when you will reissue this album in digibook with SACD, please take this "backdoor man" out. 5 shiny stars.