ROGUE

I assume that you were waiting for the latest album by Glass Hammer in some way. Why do I assume? Although sometimes we say sarcastically that what can old hands do, what can they surprise us with, that it will probably be the same again... however (and please admit it to yourself) when such an album appears, we reach for it somewhere in the privacy of our homes to really convince ourselves whether it is as we expected, or whether there is something exceptional, surprising, some breathtaking novelty among the new songs.

You can like Glass Hammer, you can dislike them, but one statement cannot be disputed: they are, without a doubt, a legend of progressive rock in the American version. Although, in fact, a better description would be to say that they are an icon of American progressive rock. If someone asks about the most distinguished progressive rock bands from the New World, Glass Hammer will undoubtedly be among such aces as Rush, Styx, Spock's Beard, Dream Theater, Tool, Echolyn, Kansas. There is probably nothing else that can be said about a band that has twenty-two full-length albums to its credit, including: "Perelandra" (1995), "Chronometree" (2000), "Lex Rex" (2002), "Culture of Ascent" (2007), "One" (2010), "Valkyrie" (2016) and a trilogy consisting of the albums: "Dreaming City" (2020), "Skallagrim: Into the Breach" (2011) and "At The Gate" (2022). The albums listed above do not claim to be the best in any general summary, but in my personal collection they have their deserved place.

Let's consider another "myth" related to Glass Hammer. The band does not present its symphonic and strongly prog-rock face on all of its productions. It cannot be pigeonholed as a band playing symphonic rock. Although one could come to such a conclusion after listening to the Skallagrim trilogy, where strong, almost metal riffs intertwine with keyboard playing, right after the release of the trilogy, their portfolio includes, for example, the album "Arise" (2023), which is an excellent example of "musical exercises" carried out within the style that is usually called space rock. Over the years of its existence (the band's beginnings date back to 1992), Glass Hammer has presented songs on its releases that can be pigeonholed in many ways. And on the latest album - "Rogue" it returns to... melodic songs. I will risk saying (of course, only for the purposes of this description) that on the album we are dealing with a "new" musical genre - synth-prog. In the case of this release, synth-prog is a "mixture" of the styles of Mike Oldfield, Tangerine Dream, symphonic rock, neo-prog and music from the eighties (like new romantic and the like). And I can already feel the breath of ardent fans of progressive music in its "pure" form on my back.

Rogue tells the story of one man's fateful journey. "He leaves everything he knows behind him," explains songwriter and band founder Steve Babb, "?and thinks he's coming back to a place where he once knew happiness, but in reality his odyssey takes him somewhere completely unexpected." Babb explains that the ten-track album explores themes of regret and the mortal clarity that comes with age. "?It's a heavy subject for an album, but the music isn't as heavy as our recent releases. Rogue is much more like the Glass Hammer albums that our fans call 'classics.'" That's as much as the band's description of the album goes. And it's probably the music that's the most absorbing element on this record. It surprises with its stylistic combinations, unusual sound and a certain simplicity of arrangement, which (at least in my case) brings the intended effect ? delight in the melodic softness, simplicity of the message and melodic nature of the song.

And what happens if the first track on the album, "What If," sounds like something from the good, classic days of Mike Oldfield combined with the first Glass Hammer albums? The answer is very easy. We get a very cheerful song (with an almost one-minute instrumental introduction), which in its atmosphere resembles romantic synthpop compositions from the eighties. Just don't think that this is taking the proverbial easy way out. Just wait until the third minute for the guitar solo breaking through the delicate, electronic melody to make us, whether we want it or not, immediately let ourselves be seduced by the murmurando lurking in the background and the polyphonic vocals.

And please do not adjust any players because "The Road South" does not allow for even a moment of break. It captivates with the calm sound of synthesizers, which in some way bring us closer to what can be described as a symphony of spheres, and whose apogee is a half-minute guitar solo and the following delicate development of this vocal-guitar story. Maybe it's Alan Parsons, maybe someone else... or maybe it's a somehow changed Glass Hammer...

If you like clear bass guitar passages, then the third track is just for you. "Tommorow" will certainly delight lovers of clear organ lines and... bass, which plays almost its own solo fragments. The organ and bass occupy the entire space of this composition and pull it towards endless contemplation of heavenly beauty.

The song "Pretty Ghost" is a certain breakthrough. Drum rolls and booming bass, electronics, Olivia Tharpe's voice, synthpop rhythms from the eighties. Carefreeness, penetrating rays of sunlight, some subcutaneous joy. And when it seems that we are dealing with some ordinary pop song, in the middle of the song keyboards appear, which from something thoroughly pop create a slightly symphonic mix combined with an unusual, pop vocal.

It is similar with the song "Sunshine". Thanks to the guitar playing in the background, the ballad-pop song gains some drama, which contrasts with Olivia's "innocent" vocals. We are again in music from the eighties, but the guitar solo smoldering in the background is disturbing and absorbing, waiting for the finale, which is a flowing calm.

"I Will Follow" ? this is, in my opinion, the biggest hit from this album. It is proof that the band is still able to write a very catchy song, which, thanks to the balanced combination of two vocals and music, will find its place on every radio station in every music band. And while you're at it, please listen to the band's first albums, I think you'll find a few references.

I hope you haven't even had time to move, frozen in your listening, because it's time for "The Wonder Of It All". It's over seven minutes of travel in space and time filled with wonderful musical passages. I'm not kidding. A slightly cosmic atmosphere, mystery and? the desire to break away, to take off into the world of countless images and associations, into the world of contemplation and amazement at the harmony of the universe. This song simply overwhelms the listener with its majesty.

Please don't stop dreaming... "One Last Sunrise" not only creates an opportunity for this, but is simply a musical dream played. A three-minute, synthesizer, instrumental dream or a sweet dream if you prefer.

Another composition from the album "Rogue" - "Terminal Lucidity" - begins with electronics from the eighties. In several interviews, the band's leader Steve Babb said that his dream on the previous album ("Arise") was to create a composition in the style of Ozric Tentacles. And this is exactly how "Terminal Lucidity" begins - spacey, cosmic, psychedelic. The middle of the song is already "a different story" - heavier, guitar, krautrock. Distorted keyboard sounds, solos in high keys, a load of almost experimental music - as if a tribute to the group Tangerine Dream. The incredible atmosphere is complemented by the words that appear only in the eighth minute: "(...) I had a dream / My life, it seems, is the setting course of the sun / I know it began in brightness / and now the ashes and dust I hear calling me". Please listen carefully to this piece in its entirety - it is almost a musical space odyssey.

The album ends with the song "All Good Things" - a treatise on things past, on the past itself, on everything that will never come back. And at the same time an expression of hope that comes with another sunrise. It is a very optimistic song to end with. One would like to say... to leave. And when you finally think... about halfway through this eight-minute song, that this is the end, the synthesizers begin their story. They destroy this original atmosphere of the ending, and after a moment of anxiety, they lead the listener back to a land where everything seems possible, so real and easy to do, to achieve. Just follow this path... you will surely succeed.

If you now demand that I write a few words to sum it up, I would like to say that I am angry. Angry? because I can't tear myself away from it. Angry because it destroys my previous image of Glass Hammer as a symphonic rock band. Angry because I keep hearing new sounds. Angry because I don't have time for other records. Angry because this record caught my ear. Angry? because angry.

From a formal perspective, it must be added that Glass Hammer is currently a solo project of Steve Babb. On the album "Rogue" he is accompanied by his old collaborators: Fred Schendel, Reese Boyd and David Wallimann (guitarist in the years 2006-2010). Two new vocalists appear: Thomas Jakob and Olivia Tharpe. Oliver Day also plays guitar parts, Argentinian Ariel Perchuck plays keyboards, and Evgeni Obruchkov (who currently lives in Poland, by the way) plays drums. In a word, we are dealing with an international project (vocalists are from the Netherlands and the USA). "It is no secret that Glass Hammer is reborn every few albums," says its leader.

This does not change the fact that I am angry. Angry because... angry.

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