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GLASS HAMMER

Symphonic Prog • United States


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Glass Hammer biography
Founded in Chattanooga, Tennessee, USA in 1992

Glass Hammer is a symphonic-progressive rock band from the United States. They formed in 1992 when multi-instrumentalists Steve Babb and Fred Schendel began to write and record Journey of the Dunadan, a concept album based on the story of Aragorn from J.R.R. Tolkien's Lord of the Rings trilogy. To their surprise, the album sold several thousand units via the Internet, The QVC Shop-At-Home Network and phone orders, leaving Babb and Schendel convinced that the band was a project worth continuing.

While many musicians have appeared on Glass Hammer albums over the years, Babb and Schendel have remained the core of the band. Both play a variety of instruments, but Babb mainly concentrates on bass guitar and keyboards while Schendel plays keyboards, various guitars and drums until the addition of live drummer Matt Mendians to the studio recording band in 2004. They also sing, although a number of other vocalists have also handled lead vocal duties including Michelle Young, Walter Moore, Carl Groves, Susie Bogdanowicz and Jon Davison. Worthy of mention, Yes vocalist Jon Anderson provided backup vocals on two songs from 2007's Culture of Ascent.

Lyrically, Glass Hammer is inspired mostly by their love of literature (most notably Tolkien, C. S. Lewis and John Krakauer) and Babb's love of Victorian prose and medieval mythology.

Musically, they lean towards 70's driven symphonic rock, with strong keyboard orientation; specifically Hammond organs in the tradition of ELP. They have a superb melodic flow to the music they make, encapsulating real power and dynamics without ever becoming overpowering. Their most apparent influences are Yes, ELP, Genesis, and, to a less noticeable extent, Camel. While Glass Hammer have, for the most part, combined those influences into a characteristic style of their own, they made much more direct references to the aforementioned bands on their 2000 album Chronometree and the 2010 release If. Without a doubt, GH remain one of the most popular groups in the progressive rock genre. All the albums are very conceptual, and there is great musicianship overall.

Current band members include co-founders Steve Babb (bass guitar and keyboards), Fred Schendel (keyboards and guitar) along with Alan Shikoh (guitar) and lead vocalist Jon Davison.

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GLASS HAMMER discography


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GLASS HAMMER top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.04 | 91 ratings
Journey Of The Dunadan
1993
3.05 | 96 ratings
Perelandra
1995
3.06 | 94 ratings
On To Evermore
1998
3.32 | 169 ratings
Chronometree
2000
2.41 | 84 ratings
The Middle Earth Album
2001
3.75 | 213 ratings
Lex Rex
2002
3.71 | 233 ratings
Shadowlands
2004
3.41 | 214 ratings
The Inconsolable Secret
2005
3.53 | 188 ratings
Culture of Ascent
2007
3.01 | 128 ratings
Three Cheers For The Broken-Hearted
2009
3.87 | 341 ratings
If
2010
2.86 | 57 ratings
One
2010
3.73 | 234 ratings
Cor Cordium
2011
3.86 | 219 ratings
Perilous
2012
3.45 | 173 ratings
Ode To Echo
2014
3.82 | 185 ratings
The Breaking of the World
2015
3.83 | 183 ratings
Valkyrie
2016
3.79 | 145 ratings
Chronomonaut
2018
3.70 | 151 ratings
Dreaming City
2020
4.00 | 97 ratings
Skallagrim: Into the Breach
2021
3.61 | 52 ratings
At the Gate
2022
3.85 | 29 ratings
Arise
2023

GLASS HAMMER Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.08 | 19 ratings
Live and Revived
1997
3.69 | 32 ratings
Live At Nearfest
2004
3.73 | 20 ratings
Double Live
2015
3.86 | 7 ratings
Mostly Live in Italy
2018

GLASS HAMMER Videos (DVD, Blu-ray, VHS etc)

4.23 | 25 ratings
Lex Live
2004
4.07 | 30 ratings
Live At Belmont
2006
4.00 | 11 ratings
Live at The Tivoli
2008
4.00 | 7 ratings
Double Live
2015

GLASS HAMMER Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.72 | 19 ratings
The Compilations, 1996 to 2004
2006
4.05 | 22 ratings
The Inconsolable Secret - Deluxe Edition
2013
3.66 | 22 ratings
Untold Tales
2017
3.77 | 4 ratings
A Matter of Time - Volume 1
2020

GLASS HAMMER Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.80 | 5 ratings
Cool Air
2016

GLASS HAMMER Reviews


Showing last 10 reviews only
 On To Evermore by GLASS HAMMER album cover Studio Album, 1998
3.06 | 94 ratings

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On To Evermore
Glass Hammer Symphonic Prog

Review by hugo1995

3 stars Has some solid songs on here with actual good "Glass Hammer" music beginning. But there's also a lot of misophonic crap (like 30 seconds of meowing in one part) that makes me question if I should even be giving this a 3, but there are good parts worth listening to that makes up great prog. This is personally the first decent album that Glass Hammer released in my opinion.

Good album for fans of good prog choirs and keyboards, such as early Spock's/Neal Morse, Moon Safari, Brighteye Brison, etc. Might even go as far to say styles of Yes and Beach Boys on a vocal level. But this version of prog itself is very different from Yes.

First half of this album, especially the prog epic Arianna are just choir-boy bliss and totally worth listening to if you're a fan of this type.

 Double Live by GLASS HAMMER album cover Live, 2015
3.73 | 20 ratings

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Double Live
Glass Hammer Symphonic Prog

Review by ArturZientalski

3 stars Google translator ------- The album ''If'' from 2010 is the end of the prog-rock story :) ''Double Live'' from 2015 is quite a decent position compared to releases from ''One'' (2010) to ''Arise'' (2023) Very pleasant to listen to. Pop- Rock release not only for Glass Hammer fans. For me, there are definitely too many "sound effects", often exaggerated :), but it's a piece of decent music :) My rating is 3.0-3.5.

original text ------- Płyta ''If'' z 2010 roku to koniec progrockowej opowieści :) ''Double Live'' z 2015 roku to całkiem przyzwoita pozycja w porównaniu z wydawnictwami od ''One'' (2010) do ''Arise'' (2023) Bardzo przyjemne w słuchaniu Pop-Rockowe wydawnictwo nie tylko dla fanów Glass Hammer. Jak dla mnie jest zdecydowanie za dużo w nim ''efektów dzwiękowych'' często przesadzonych :), ale jest to kawał przyzwoitej muzyki :) Moja ocena to 3.0-3,5.

 Arise by GLASS HAMMER album cover Studio Album, 2023
3.85 | 29 ratings

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Arise
Glass Hammer Symphonic Prog

Review by alainPP

4 stars GLASS HAMMER group founded in 1992; known for composing on the Lord of the Rings book and hosting Jon ANDERSON who brought me to them; a sound on YES, ELP and GENESIS initially for the sound of the keyboards and a symphonic rock assigned to the specific musical flow; their 22nd album is about the exploration of deep space by an android, so we are therefore going for space rock, doom metal and psych-rock from the 70s to today, a beautiful progressive range which is evolving.

"Launch of the Deadalus" rhythmic intro, spatial neo prog on a Dantesque final organ leading to "Wolf 359" starting title on a heady heavy riff; Hannah deploys her voice eyeing that of MOSTLY AUTUMN, merging with almost all prog groups with a female voice; the final orchestral side between symphony and grandiloquent melody, music seeking to "talk to the gods of Olympus" with a supercharged keyboard confirms the metallic desire. "Arion (18 Delphini b)" more psychedelic track with vocoder voice, dynamic for rock enthusiasm and forward bass reminiscent of RUSH. "Mare Sirenum" the marine interlude, instrumental becoming crystalline, hypnotic; a grandiose psyche rise which makes a magnificent progressive nod to the electronic music of TANGERINE DREAM, sublime. "Lost" follows, a long, captivating intro of almost two minutes before Hannah takes the reins on a piano and new wave scents; the emphasis on a SPARKS, a MI-SEX, half dancing, half contemplative and a timeless melody to finish electro dub. "Rift at WASP-12" its catchy heavy sound; between the film and the psyche, on a languorous and surly MOTORPSYCHO, a sign of the prog oxymoron; an overboosted stoner, on a MONSTER MAGNET. A GLASSHAMMER in fact squeaky and twirling but effective.

"Proxima Centauri B" drives the point home, heavy bass, scratchy wah-wah riff, heavy drums looking towards BLACK SABBATH; rhythmic before a soaring break which disconcerts thanks to the sovereign Hammond, the bass keeping its place; Hannah screams more and more and gives pep. "Arise" first of two long pieces; spacey and oriental air on TANGERINE DREAM from the start; a musical bluff with this organ from ancient times and a title which refers to the sound of yesteryear and an air mixing Chrissie HYNDE with Anneke from GATHERING; Steve shows here even more his love of sophisticated, dithyrambic, colorful music, with a final soaring chord where the Mellotron comes to light. "The Return of Deadalus" for the beef, the crazy improv that we no longer expected in 2023; a good old instrumental gig from a bygone era surfing between psychedelic rock, bluesy rock and hard 70s madness; an end-of-album gift with still the old greasy sound of MOTORPSYCHO, yes GLASSHAMMER transcends itself; flights of keyboards from the time when the organ gave prog its letters of nobility; Steve's bass, always heavy and powerful, and the guitar which twice releases a solo that will make you swoon: Hannah arrives at the end to remind us that her voice is also important; final which leaves you perplexed, stunned favoring astral travel quite simply; an astonishing and explosive mix, heavy worthy of DEEP PURPLE.

GLASSHAMMER hit hard, very hard; heavy prog as we like it with vintage sounds, a sound that gradually changes confirming their musical evolution; a concept album about space exploration that is bound to send you very far away for an hour; strong and soaring recording, perfect progressive osmosis of prog sounds and an obligatory album of the month in view of this musical deluge.(4.5)

 Arise by GLASS HAMMER album cover Studio Album, 2023
3.85 | 29 ratings

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Arise
Glass Hammer Symphonic Prog

Review by richardh
Prog Reviewer

4 stars According to the database this is the 22nd studio album by this symphonic prog band hailing from Tennessee. Formed in 1992, I first became aware of them with the release of their fourth album Chronomotree in 2000. This was recommended to me as an ELP/Yes style album and certainly keyboardist Fred Schendel provides plenty of Keith Emerson/Rick Wakeman style licks. They stuck reasonably firmly to this approach over the next 10 years that arguably reached its zenith with the so called 'Jon Davidson' trilogy (If, Cor Cordium and Perilous). Chris Squire got to hear about a vocalist that could reasonably replace Jon Anderson in Yes so Davison departed after 2014's Ode To Echo album where by this time he was sharing vocal duties with the returning Carl Groves. From then on GH became a much more fluid line up with different guitarists and drummers, not to mention various lead singers although they remained remarkably consistent in output.

The current lineup of Steve Babb (vocals, keyboards, guitars), Fred Schendel (drums and guitars on one track) Randall Williams (drums) and Hannah Prior is perhaps their most stable for a while. What's readily noticeable is the lack of traditional keyboards in the mode of Emerson and Wakeman that was so recognizable on many of their albums. Instead, this is replaced by electronic sounds that help create a more atmospheric feel. The general style is now even heavier than recent albums, very guitar dominated especially Steve Babb's muscular bass who is undoubtedly one of the best players of that instrument around.

The concept? Certainly, deliberately very space rock influenced and partially a homage to early Floyd and similar early seventies psyche bands. The album finishes strongly with a few longer tracks (Arise 11.44 minutes and The Return of Deadalus 16.51 minutes). Overall, it comes in at a nice meaty 59.38 minutes. I purchased the MP3 album but I gather this has some very nice artwork and a lovely insert booklet explaining the concept if you get the CD version. If you like their recent albums, you will like this. If you think this is another Yes/ELP clone band and got off the 'bus' around 2014 then hop back on the bus and give this a chance!

 Arise by GLASS HAMMER album cover Studio Album, 2023
3.85 | 29 ratings

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Arise
Glass Hammer Symphonic Prog

Review by cstack3

4 stars The band Glass Hammer, led by bassist/guitarist Steve Babb and his fine crew, have generated a very nice new CD! I am particularly impressed with vocalist Hanna Pryor, who shines throughout!

The music has an interesting blend of western and Middle Eastern sounds, particularly poignant at this stage of history, considering the clash of those worlds. Steve's bass playing as always is excellent, and they use classic prog sounds such as heavy wah-wah guitar and Mellotron strings!!

This is a very nice effort, and I congratulate Steve and his band for producing a very taught, emotionally uplifting body of music.

 If by GLASS HAMMER album cover Studio Album, 2010
3.87 | 341 ratings

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If
Glass Hammer Symphonic Prog

Review by gbjones

4 stars Ok I'm really tempted to give this a 3 but I'm giving it a 4 because it's at least a 3.5. It's what I call "derivative" - it has echoes of Yes, the Beatles, ELP, and Bread (remember those guys?). But it's really good, especially the lengthy track "If the Sun". I will pose this strong caveat: these people are very prolific and even though I give this a high rating, my interest in them will probably wane after the first few albums. I first listened to GH around a decade ago - I purchased a copy of "Shadowlands" but thought it was almost entirely too derivative, and I didn't like the vocalist. I waded back into these waters again after listening to Jon Davison sing yes. 4 stars.
 The Breaking of the World by GLASS HAMMER album cover Studio Album, 2015
3.82 | 185 ratings

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The Breaking of the World
Glass Hammer Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Since Fred Schendel (keyboards, lead & backing vocals) and Steve Babb (bass, keyboards, backing vocals) formed Glass Hammer in 1992 they have had a line-up which changes quite fluidly, with members leaving and sometimes returning, yet during the last 30 years they have had a prodigious output by modern prog standards, rarely dropping below their own very high standards. Here they are joined by Carl Groves (lead vocals), Susie Bogdanowicz (lead & backing vocals), Kamran Alan Shikoh (electric, acoustic & classical guitars) and Aaron Raulston (drums), which apart from the loss of Jon Davison (Yes) was the same line-up as the previous 'Ode To Echo' which had seen both Carl (Salem Hill) and Susie return after some time away and the introduction of Aaron to the band.

Fred and Steve are major fans of Yes and they have not hidden those influences over the years, and surely this was one of the reasons Davison got his current role, yet what surprised me most about this album is that while they have stayed true to the symphonic prog style, they are not nearly as Yes-like as they have been on many of their albums in the past. True, they do like male lead singers who perform in a similar fashion to Anderson, yet female vocals are also a key element in their sound, and this album finds them move much more closely to the music of Steve Hackett than I would have thought. Note, I deliberately said Hackett and not Genesis, and his late Seventies albums in particular. Yes, there are some keyboard sounds one recognises from Tony Banks, and others from Wakeman, but they are performing a style of prog which relies on certain keyboards so that is not surprising. Mind you, the introduction to "Nothing, Everything" is classic Gentle Giant and brought a smile to my face.

I have always enjoyed the depth and care which goes into their arrangements, and they are never as overtly flashy and "look at me" as some others, as they combine multiple melodies and strands and allow the singer to then find his/her own path over the top. For music as complex as this it is perhaps surprising that space is also a hugely important element which ensures the music has the room to breathe and really live. This is an album which definitely looks back in time and could easily have been released in the heyday of the genre but is also modern and shows that 16 studio albums in the band has a colossal amount to offer, and it is no surprise that 8 years on from this they have released another five. One of the most enjoyable progressive rock bands around, Glass Hammer continue to operate at very high levels indeed.

 At the Gate by GLASS HAMMER album cover Studio Album, 2022
3.61 | 52 ratings

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At the Gate
Glass Hammer Symphonic Prog

Review by TheEliteExtremophile

2 stars Glass Hammer is among my favorite punching bags in the realm of modern progressive rock. This is their twenty-third(!) full-length release, the third installment in a fantasy-based trilogy, and it's exactly what I'd expect from them. The music is soullessly played and full of cliches that were old news 50 years ago. They've lately tried adding a bit more grit to their sound, but it doesn't suit them well. Their best albums from the late '90s and early '00s were never all that original. At least they sounded like they were having fun, and the music had some creativity to it. At the Gate feels like a paint-by-numbers slog, especially in comparison to this band's more engaging work.

Review originally posted here: theeliteextremophile.com/2022/12/26/odds-ends-december-26-2022/

 At the Gate by GLASS HAMMER album cover Studio Album, 2022
3.61 | 52 ratings

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At the Gate
Glass Hammer Symphonic Prog

Review by alainPP

4 stars GLASS HAMMER was founded in 1992 working in the symphonic prog niche with a story of Tolkien with a medieval atmosphere, would the name have a link? Sound ą la YES as a priority, then on keyboard groups including CAMEL to become a symphonic prog reference. The last of the more metallic 'Skallagrim' trilogy, heavy for the finale with the sacrifice of said hero, but shhhh listen to the music, read the story, the chronicle.

"The Years Roll By" opens symphonically on a good Drama-era YES, voice ogling over it and on MOSTLY AUTUMN; melody with prominent bass by Steve who also takes care of the solemn organs giving the warm side, like some notes of the majestic 'Bal des Lazes'. Hannah declines her voice with emotion and lets Fred break out a solo that marks the sound of the group. "Savage" with a half acoustic half heavy intro riff bringing a heavy groovy tune; prog metal title that has been driving the nail for 3 albums, a little on the CRANBERRIES for the voice and the groove, haunting and moaning voice in support; small Japanese break before leaving on a solo organ and very fat keyboards to stand out a little from the vintage 70's sound. "North Of North" for the instrumental title of the album precisely bringing together the 70s with the more electronic 2000s; TANGERINE DREAM atmosphere see new-wave intro a while before the Hammond solo that a YES, DEEP PURPLE, BOSTON could have done lately; it starts again with this progressive ambient atmosphere that I love, bewitching. "All Alone" arrives, riff metallic enough to sound like another band; tortured KING CRIMSON, KING'X, ALICE IN CHAINS; Hannah breathes a nervous tempo quickly helped by Fred, her singular between metal and blues; title effectively showing the duality of the album, final warm bluesy solo. "All For Love" tumbles out as a twirling intro; MAGELLAN, MAGENTA, rock metal which is channeled for a time, Hannah raises her voice like the instruments then modulates it with choirs; sound becomes sticky, annoying, haunting with Hannah screaming; Vintage keyboard solo then Reese's guitar from Arabian Nights for a progressive drift that becomes enjoyable and catchy.

"Snowblind Girl" continues on the same pace, the same metallic Aaron's pad wish; it may confuse fans, but it's Steve's choice; 60's sound on the British pop tune, voice ą la Chrissie HYNDE, solo whirling suddenly; the desired amalgam avoids letting go on melodic prog metal, here it's prog metal with layers and drawers with successive breaks, like I hear an air of 'RED' that's to say. Chaotic metal break like sheet music that makes its own progressive music before returning to Hannah with angelic sweetness; final again 'maelstro-orgasmic'. "Standing At The Gate" with the return of Jon DAVISON on vocals for a Yessian title from the years 2025, Hannah draws her voice too much in my opinion and it is the organ that rounds off the musical angles; the recessed synths show off the more progressive GLASS HAMMER sound as well as the final crystal-clear guitar solo. "In The Shadows/It's Love" in two glued parts? for the title of the album, return of the sound of the group, majestic title with piano intro reminding me of LAZULI or ESTHESIS, yes I also listen to French prog; solemn tone with divine Hannah here, everything is said; on the edge of atmospheric, dreamlike and crossover prog, a bewitching melody as a dressing to previous titles or simply magnifying the GLASS HAMMER sound; ah 3'45'' and the magic moment, this redundant, crystalline piano, that's it I have chills; peace of ears, when Skallagrim is faced with his fate; Steve with his organ-YES launches a magnificent, divine moment trying to show the gesture of his hero who is going to sacrifice himself for his beauty; tune ą la MOSTLY AUTUMN because I like that band too; Break ą la VANGELIS now, divine I tell you; guitar break ą la May from QUEEN, I'm melting, good YES it's normal like MAGELLAN again I feel like I'm listening to musical fireworks and a coda of 'Dreaming City' now; solemn break for a final crescendo and yet another aerial solo, I'm putting on the replay.

GLASS HAMMER hits hard with his hammer, yes I wanted to; a booklet telling the story of the hero, some titles at 10/10 like I think someone who notes this way, the other metallic ones to confuse and/or show that prog is not confined to a single genre; contemporary, vintage by reminiscences, current by the agreements found, avant- garde in fact. It was only in 2016 that I started following them again after a first try with their 2006 live, like what over time. This 3rd part therefore closes the story of the thief with a screaming, desperate sword, this album therefore becomes a contender in my top for the emotion released. Ah if all the titles were of the caliber of the last, I will simply have my top 1 of the year.

 Perilous by GLASS HAMMER album cover Studio Album, 2012
3.86 | 219 ratings

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Perilous
Glass Hammer Symphonic Prog

Review by roelgrif

5 stars I really can't believe this album doesn't even get a score of >=4 right now. There are so many wonderful symphonic prog moments in the songs! Some songs may require a few listens to really appreciate them I guess. Don't judge the album after just one walkthrough!

Let's first note that the song titles, read one after another, make a beautiful poem!

1. The Sunset Gate

This track opens with an exposition of the main theme of this concept album, which will be repeated in later tracks, here played by a string trio. Once the piano takes over, you realize it's Hammertime! Although this sounds like an instrumental in the first half of the song, after more than three minutes the voice of Jon Davison makes an appearance, with subtle background vocals. A smooth transition occurs to the next song:

2.Beyond They Dwell

Slightly more uptempo than the previous track, and it may sound a bit more complex on first hearing. Very nice guitar and keyboard solos. Another smooth transition to the next song:

3.The Restless Ones

This song is mainly a vocal solo with piano accompaniment. At the end a surprising turn occurs into a suddenly very soft intro of the next song:

4. They Cast their Spell

I see this song as a kind of introduction to 'In That Lonely Place' (later on the album). A very creative chord progression, arpeggio played, on which the melody keeps spinning and changing in unforeseeable directions.

5. We Slept, we Dreamed

This song starts with the main theme of No. 1, now played on the piano, later joined by recorders and oboe. After a longer passage with vocals and especially keyboards, the exceptional beauty of this song really reveals itself at the end, where a vocal chorus kicks in like a classical choir. In the peaceful silence of a continuous low base note, the vocal chords flow like a renaissance Latin motet. Awesome!

6. The Years Were Sped

This is a very nice intermezzo with classical guitar sound.

7.Our Foe Revealed

An uptempo song with a very catchy riff about halfway through, at the end of the vocals.

8. Towards Home We Fled

This song has taken the most time to mature for me, especially because of the complex chord progressions and rhythms. In my experience you can appreciate it once you get used to it. But not easy to digest. A bit like tasting good but old wine.

9. While the Sun Dipped Low

A beautiful instrumental interlude, soundscape-like. Just close your eyes and watch the sun sink low.

10. The Wolf Gave Chase

Again an instrumental track, but now very up-tempo and a bit nervous. Excellent keyboard work in a very proggy style. Also a very impressive guitar solo. This song ends on a repeated augmented triad giving way to the album's most mellow interlude:

11. We Fell At Last

Acoustic solo guitar part, almost harp-like, a kind of intro for the next song:

12. In That Lonely Place

In my opinion, this symphonic ballad is the very best Glass Hammer song *ever*. On a very creative 5-chord progression, a melody is woven that with each subsequent measure goes somewhere else than you would expect. The couplets are sung by three different singers who each give their own flavor to that beautiful almost-from-out-of-space melody. The chorus is also very impressive and builds to a climax at the end of the 3rd chorus, but then continues and closes halfway through the 4th chorus. However, it's still not over yet? yes indeed, the main theme of the album returns at the end of this excellent track.

13. Where Sorrows Died and Came No More

After a quick piano and keyboard intro, a majestic song starts in slow motion that seems to close the album. However, after a few minutes an instrumental part follows where the tempo picks up again, in preparation for a fantastic symphonic and vocal end to this truly great album.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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