Author: Peter Podbrežnik
Artist: Glass Hammer
Label: Arion
Release: 2014
Running time: 53:21
Rating: 4.5/5
In ancient Greek mythology, Echo was the goddess of reverberation who, as the famous legend goes, fell hopelessly in love with the vain youth Narcissus. She was doomed never to confess her love to him in her invisible form, since all she could do was repeat other people’s words as an echo, while the thoroughly baffled narcissist, after falling in love with his own reflection on the surface of the water, drowned and was turned into a flower that still bears his name today. The moral of the story is well known. Mythology and ancient history (not just Greek) dominate the titles and lyrics of the fourteenth Glass Hammer album, »Ode to Echo«, which tells a rather different musical story from its concept-driven predecessor »Perilous« (2012). What the two share is a high level of consistency across individual compositions, and all the symphonic prog gourmets out there are sure to have a blast with it.
Fourteen studio albums in twenty-two years is definitely an impressive feat, especially these days, when many prog acts that have been on the scene for a long time are running out of real inspiration for writing new music, particularly anything that’s at least halfway progressive, experimental and intelligent. Plenty of bands that put out studio albums often, or even back to back, fall into the trap of sonic blandness, but the American symphonic prog heavyweights aren’t in that danger (not yet, anyway). The band’s two chiefs, keyboardist Fred Schendel and bassist/occasional keyboardist Steve Babb, pulled quite a few unexpected moves on »Ode to Echo«, and they paid off nicely.
Jon Davison, Glass Hammer’s lead singer since 2010 and, more recently, a member of the legendary Yes, has become extremely busy making music for two different bands in that time (by the way, Davison isn’t just an excellent singer but a gifted songwriter too). Babb and Schendel decided to lighten his vocal load a bit on »Ode to Echo«, so, to the surprise of longtime fans, they invited singer Carl Groves (most recently lead vocalist on the album »Culture of Ascent«, 2007) and singer Suzie Bogdanowicz (who last worked with Glass Hammer on the album »Three Cheers for the Broken-Hearted«, 2009) back into the fold.
»Ode to Echo« is the first Glass Hammer album to feature every singer in the band’s history, as original vocalist Michelle Young and former singer Walter Moore also show up as guests. Babb and Schendel were themselves the band’s main vocalists back in the early years. The list of the other guest musicians is pretty impressive this time too, with guitarist Randy Jackson (Zebra) and violinist David Ragsdale (Kansas) among them. After a long time, Glass Hammer also took on an official drummer, Aaron Raulston, whose drumming style has everything a quality symphonic prog drummer should have.
Combining three different vocalists on »Ode to Echo« has definitely produced some very interesting results, especially when the male and female vocal lines play off each other. Glass Hammer’s sonic philosophy stays the same: symphonic prog rock with an upbeat atmosphere and rich symphonic arrangements, although this time around they’ve also let themselves indulge in some seriously cunning jazzy flights with scattered improvisations. Despite the considerable eclecticism of the individual instrumental sections and symphonic arrangements, Glass Hammer keep a generous melodic backbone on »Ode to Echo« too, one that meshes well with the more or less sunny vibe.
Right from the opening track, »Garden of Hedon«, a blend of jazz fusion in the best tradition of Brand X and Colosseum II with symphonic prog in the style of Yes and Kansas, you can hear that the new album is once again a completely different beast from »Perilous«. There are plenty of dreamy, almost psychedelic moments between the arrangements too, while Davison’s and Groves’ vocals complement each other beautifully. Davison is still the ‘American Jon Anderson’ (no wonder he ended up in Yes), while Groves occasionally leans a bit toward John Lennon. A few polyphonic, fractured rhythms that will remind many of the unforgettable Gentle Giant can be picked out between sections, while Schendel’s mellotron waves add a hefty dose of ethereal atmosphere. Alan Shikoh is a fantastic guitarist who has picked up plenty of tricks from legends like Allan Holdsworth, Steve Howe and Steve Hackett. This time he allows himself quite a few more jazz-leaning improvisations than on »Perilous«.
Echoes of the Gentle Giant legacy can also be heard on the epic »Misantrog«, as the opening multi-part vocalizations make clear, while jazz fusion connoisseurs in particular will be thrilled by the passages where keyboards and guitar harmonies melt into each other in a remarkably cohesive way. It’s yet another complex, smartly arranged track that practically bursts at the seams under the weight of unpredictable time changes and gorgeous vocal harmonies. Schendel’s brilliant playing on piano, Hammond organ, Mini Moog and mellotron is incredibly tight, and on this track it brings an incredibly infectious ethereal magic that instantly sweeps up any symphonic prog fan.
»Crowbone« is another composition that sounds like it was made sometime in the early seventies. This time gorgeous string arrangements take over, blending perfectly with mighty symphonic arrangements, especially on piano, which will please all fans of the legendary Caravan, while the trading of vocal harmonies between Davison and Graves is once again pure win. A few anxious moments on acoustic guitar and strings remind us that Glass Hammer aren’t nonstop jokers after all, even if a sunny atmosphere mostly rules their music. Dark improvisations on electric guitar and organ under the influence of Van Der Graaf Generator and King Crimson are a not-so-common sight in their sonic vocabulary, but of course there’s no shortage of an epic, orchestral finale either.
On »I Am I«, yet another complex but melodic piece, Suzie Bogdanowicz takes the lead vocal for the first time on the album, and her ethereal voice brings remarkable warmth to the arrangements, while the contrast grows even sharper when both male vocalists come crashing in, deepening the turbulent atmosphere even further. »The Grey Hills«, with its fair share of polyrhythms and jazzy transitions, takes a slightly darker, more mysterious ambient approach, while Davison’s and Groves’ singing glides in unison over the symphonic backdrop, peaking in an epic chorus. »Porpoise Song« has a solemn, symphonic, slightly psychedelic intro in which Groves delivers his best John Lennon impression, while the ‘American Jon Anderson’ Davison makes sure the turbulent atmosphere takes on ethereal, spiritually uplifting dimensions.
»Panegyric«, which takes its title from the ancient (Greek) word for a public speech given at some important occasion, opens with a sacred, darkly tinted organ sound, followed by a shift into a calm, ballad-like section that seems tailor-made for Suzie’s vocals. »Ozymandias« (the title is the Greek name for the important ancient Egyptian pharaoh Ramesses II) has a quirky, swaying intro that sounds like a close encounter between Gentle Giant and ELP, and it lasts right up until both lead male vocalists crash in, instantly adding a generous dose of infectious ethereality. Shikoh’s guitar passages are punchy and fired up this time, in good balance with Schendel’s organ antics, which is especially obvious during the brief improvisational moments. Through all that rhythmic complexity, led by Raulston’s massive drum runs, Glass Hammer still manage to weave a hugely melodic chorus that radiates their typical ‘green tongue’.
Schendel and Babb are workhorses, but all that graft usually pays off big. »Ode to Echo« is no exception, and stylistically it’s one of the most diverse chapters in the Glass Hammer saga so far. This time they gave the jazz fusion elements from that genre’s golden years free rein, and combined with their trademark symphonic prog rock the results are highly dynamic, while the atmosphere of the individual pieces sits in fine balance with the mystical lyrics. So even after »Ode to Echo«, Glass Hammer remain one of the ‘hottest’ bands on the modern symphonic prog scene.
Lineup
Fred Schendel – keyboards, steel guitar, backing vocals
Steve Babb – bass guitar, keyboards, backing vocals
Kamran Alan Shikoh – electric and acoustic guitar, electric sitar
Jon Davison (Yes) – vocals
Carl Groves – vocals
Aaron Raulston – drums
Susie Bogdanowicz – vocals
GUEST MUSICIANS:
Walter Moore – vocals
Michelle Young – backing vocals
Randy Jackson (Zebra) – guitar
David Ragsdale (Kansas) – violin
Production
Fred Schendel and Steve Babb
Tracklist
1. Garden of Hedon (6:57)
2. Misantrog (10:00)
3. Crowbone (7:22)
4. I Am I (8:15)
5. The Grey Hills (4:47)
6. Porpoise Song (3:37)
7. Panegyric (4:11)
8. Ozymandias (8:12)
