GLASS HAMMER

With plenty of intricately-layered melodies, making full use of various instruments and multiple singers, Glass Hammer's sound, described as "symphonic prog", is as grandiose and epic as you can imagine. With interesting harmonies and some well thought-out lyrics, it's a shame that progressive rock, a genre that should be so appealing to so many people, is so easily overlooked.

Featuring some true gems such as 'So Close, So Far', 'Run Lisette' and the centerpiece of the album, 'Behind the Great Beyond', Glass Hammer's 'Shadowlands' is an awe-inspiring effort, which doesn't come across as pompous or self- indulgent. It's just one epic after another. The production does a fine job of giving every instrument enough clarity without being overbearing, which is quite a feat when there's so many things going on at any one time.

A true marvel of symphonic prog, this album is an absolute joy to listen to, and an essential addition to the collection of anyone who yearns for those classic days of yesteryear, when bands like Yes, King Crimson and ELP were all the rage.

The Inconsolable Secret doesn't seem to be well-known enough to garner the reputation it deserves. Curiously, it's not had much attention on Progarchives, but it's currently rated 4.5 stars on Amazon. I consider this a masterpiece and one of my all-time favorite albums. The effort that went into producing TIS is evident from the Tolkien-like backstory by Babb (available as a separate CD/book - 'The Lay of Lirazel'), Roger Dean album artwork, packaging - and then re- packaging with updated re-recordings featuring Davison/Shikoh. The original version of TIS comes as a double album (13 tracks) and runs over 95 minutes of music. I'm usually wary of double albums, as they tend to get diluted or stretched a bit thin (The Wall?, The Lamb Lies Down on Broadway? Tales from Topographic Oceans?). That's not the case here. Almost every track is a classic - and each forms part of the story, which is quite epic in its own right. (I've always felt TIS would make a great movie!) One small point of confusion for me is that the tracks appear to be, chronologically, slightly out of order. For example, the album opens with "A Maker of Crowns", but it's really "Long and Long Ago" that sets the scene. I presume tracks were re-ordered to fit more easily on the LPs/CDs? In any case, the structure is that disc 1 contains the two longest tracks, "A Maker of Crowns" and "The Knight of the North". These are both prog masterpieces. A Maker of Crowns starts out with piano, but Fred switches up his keyboard sounds throughout, so they never sound dull or repetitive. I love the tone of the synth keyboard solo at 10:00. Schendel's keyboards are second to none. He has the technical virtuosity of the likes of Rick Wakeman or Lyle Mays, but is also able to play in a way that touches your soul. There's an emotion in his playing that I've never heard that consistently in any other keyboard player. Next up, "The Knight of the North" starts with perhaps a slightly unconventional sound of bass playing over a string section. This is one of the finest moments of symphonic rock I've ever heard. It's not terribly complex musically, but it just works. The same track also finishes with a pretty loop of all instruments covered by choral vocals - one of the most epic-sounding pieces since Yes' Awaken.

"Long and Long Ago" introduces the main theme which eventually gets reprised at the end of the album. One of the best tracks on the album with great instrumental solos and outstanding vocals, particularly from Flo Paris. (BTW, try to name the Yes track at 7:00!) "The Morning She Woke" is a shorter track that picks up the narrative of the story, with Susie taking the role of the King's daughter. "Lirazel" is another shorter track that expands on that main keyboard theme, before Susie picks up more of the narrative. "The High Place" has some of the most beautiful, gentle instrumentation and choral work. Very atmospheric. "Morrigan's Song" has a slightly Celtic sound. I think Fred would call this an interstitial piece, but it's very cute in its own right. "Walking Towards Doom" is an atmospheric instrumental with some spooky choral work which sets a scene of foreboding. You know something bad is going to happen... Mog Ruith picks up the tempo with some up-beat keyboards, which is a bit ironic, because from my recollection of the story, Mog Ruith is where our heroine meets her nemesis. "Through a Glass Darkly" seems to be a fan favorite, and rightly so. It's one of the prettiest pieces on the album with gorgeous harp, strings and vocals from Susie. (Without ruining the story for you, things aren't going too well for the heroine at this point.) "The Lady Waits" is a tasteful string piece that continues the slightly sombre mood, but with some really pretty classical music in the middle. This leads to "The Mirror Cracks" - a brass/harp/string choral lead in to some very tense, doom-laden, dramatic-sounding music which is basically a prelude to the (eventual) happier ending of "Having Caught a Glimpse". This final track is the highlight of the album for me. The build-up and vocals are stunning and the keyboard re-cap of the melody from "Long and Long Ago" with the added choral vocals is just stunning. One of the best endings to one of the best albums I've ever heard. An easy 5 stars.

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P.S. TIS is now available in a deluxe version which has re-recordings of Long and Long Ago, The Morning She Woke, A Maker of Crowns, The Knight of the North and Having Caught a Glimpse. These are all great new recordings with additions from Kamran Alan Shikoh and Jon Davison - totally worth having, but I still prefer the originals. As good as JD is, Walter Moore's and particularly Flo Paris' original vocals are some of the most haunting I've ever heard. Thankfully, with the deluxe version, you get both versions :-)

This simply can't be the same band that produced classics like Chronometree, Lex Rex, The Inconsolable Secret, Culture of Ascent, If, Cor Cordium, Perilous, etc. I've suffered through Valkyrie half a dozen times now, and each time it gets more painful. As usual, Glass Hammer's material is well recorded, there's lots of interesting sound effects and lots of virtuoso bass, keyboards and guitar, courtesy of Babbs, Schendel and Shikoh, respectively. But where's the spark? Where's the Glass Hammer magic of old? The first two tracks are utterly non-descript and totally wash over you. The third (No Man's Land) is turgid and way too long, given that nothing interesting happens. (BTW, Fred & Steve - please don't sing! I'd rather listen to my cat wail than your vocals. Can't you get Flo Paris back? Please?!?) Nexus Girl is the first interesting track, but it's electronica - not really any kind of prog. The title track is the best track on the album, but it still isn't anything I feel I'd want to play again. Fog of War is 8 1/2 minutes of your life you'll never get back. I wish I could say the same of Dead and Gone, but this one's worse - it has this annoying "hook" that goes: "There's hope and there's joy... there's love for the soldier boy-ee". Ick. The album would have been better without this track. Eucatastrophe heavily plagiarizes Genesis at the beginning; you expect to hear "Home from work, our Juliet...". The rest of the track is pretty, but nowhere near the quality of "Cinema Show". Rapturo finishes the album with some simple arpeggios on the keyboards, with some tinkly guitar-string sound over the top, all of which goes on way too long. (It wasn't interesting for even the first bar, but it's dragged out for two whole minutes.) Anyway, we finally get a little drum roll into Susie singing about how he's gone (sorry if that's a spoiler, but there's really not much more to spoil about this album).

I can't believe I paid $15 for this. I never thought I'd say this about Glass Hammer, but I want my money back. I'm going to persevere with this album and will change my rating if, at some point in the future, it "clicks" with me and I finally see the genius in this. But honestly, right now I'm dreading having to listen to this album yet again...

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P.S. One has to expect some vitriol as the first person to post a less-than-5-star review of any new album. "You must be deaf!". "You're not a proper fan". "Your mother and I are both very disappointed in you". etc., etc. It is quite interesting to get some vitriol from the band itself. However, if this leads to the follow-up album having even just marginally more melody, with only fractionally less electronica/distortion/vocoder effects and only slightly fewer vocals from Steve & Fred, this will have been a worthwhile endeavor. Let's face it, Comfortably Numb only worked because Roger let Dave sing the chorus. Steve & Fred - you're super-talented individuals, but we all have our strengths and weaknesses. I know you know where I'm coming from.

I realize I may have offended and for that I apologise. I will change my rating - I was wrong - I am, in fact, only a small-to-medium-sized Glass Hammer fan. My 2-star opinion of Valkyrie still stands though. This is a poor album by any standards, but particularly poor coming from a band as capable as Glass Hammer.

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.

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 Jürgen 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.

4.5 Valhalla handmaidens

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

`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.

Five stars.

(Please note - This review was made available to various GH street team members for advance reviews ahead of the 27th September 2016 release date , no dodgy download here, thank you very much!)

This album is nothing short of expected of Glass Hammer, a punchy, melodic prog-athon of the highest caliber. A part of the greatness of GH to me is their sense of self-awareness, particularly when it comes to how they define themselves genre-wise. All of the old prog bands weren't necessarily fond of calling themselves 'prog', either because it was an extremely new tag, or the bands simply didn't like themselves to be referred to as such. Glass Hammer however embraces the progressive rock label, letting it define every single musical blip that they make. Of course it must be addressed that Glass Hammer takes extreme influence from Yes, however for me I feel that the former is the superior. This may sound short sighted by Glass Hammer's clean cut modern utilizations of musical technology that Yes didn't have allows them to sound...just...better. Now I suppose you could just chalk this up to me being easily influenced by pretty sounds as opposed to the hard-work of Yes, but my respect for Yes has never waned. However their time has passed, and I believe Glass Hammer is a perfect band to take the mantle. Don't get me wrong, Yes can be more respected for what they were able to accomplish with much less to work with- I certainly do. But Glass Hammer is just, I guess, the "new Yes".

Enough case study, how is Cor Cordium itself? Like I said before, it is very punchy in it's delivery, and harnesses a sort of neo-prog type sound with it's heavy double-kick drums and booming electric. I know this might be heresy, but I actually consider Jon Davidson's vocals to be superior to Jon Anderson's (even in his prime). Davidson's harmonizations are simply better, and is more along the lines of Geddy Lee in quality standards. The opener 'Nothing Box' is simply fantastic, with a great atmosphere and also very lyrically sound. 'To Someone' is for those who like the long stuff, with changing tempos and moods- expected of a prog epic. The album closes out very nicely with 'She, a Lonely Tower', which is the final of the four epics of the album, and carries with it a somber note to the otherwise quite jovial album.

Another quality album from the oxymoron bunch. If you're looking for an example of great modern prog rock, then this album is for you. 4.5 rounded to 4.

Disclosure number 2: I am not one of those who dislikes a band because they sound similar to one of my favorites from the seventies. So when Glass Hammer released songs, and even whole albums that sounded very similar to Yes' style, I was delighted, not offended. Jon Anderson liked them enough to sing on one of their albums. Yet something on this album just seems wrong.

Perhaps Steve Babb and Fred Schendel were still seething about Yes appropriating their Anderson sound-alike Jon Davison when they were recording this album. Maybe it was unconscious. But many of the tracks on this album sound to me like they have deliberately played Yes licks woven into them, often in a different context to hide them from inattentive listeners.

I hear sections of Perpetual Change, Awaken, and too much of Siberian Khatru, among others across this disc. They stand out to my ears, as I've probably heard the original songs hundreds, if not thousands of times in my life, as prog has been the soundtrack of my life for close to half a century now. And yet, I still find this album compelling.

Despite the issue I mentioned above, the style is not a clone of Yes, or any other band for that matter. It's the style Glass Hammer has been honing for some time. An original symphonic prog that has always paid tribute to their forebears by wearing their influences on their sleeves.

Standout tracks to me are "Third Floor", that starts out with a Mike Kennealy-like guitar riff, then moves to a Khatru lick behind a slightly jazzy verse, moving through sound that refer to King Crimson and Gentle Giant, then "A Bird When It Sneezes", a very short piece that sound's like Bill Bruford's fusion. I also especially like "Babylon", another Gentle Giant flavored track that's now of my favorite Glass Hammer pieces.

I've listened to this album enough times now that I am not disturbed by the Yes licks anymore, but they still stand out to me. And I give it 4 stars.

Disclosure number 3: Windows Media Player on my computer identifies this album as "Cronometree", Glass Hammer's album from 2000. This is definitely not that album.