Glass hammer downloads

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If you purchase digital downloads you will receive download links in an email within 24 hours. Lex Rex Remastered. Chronometree Remastered. Mostly Live In Italy. Untold Tales. Double Live Deluxe. The Breaking Of The World. Ode To Echo. The Lay Of Lirazel. The Inconsolable Secret 3 disc. Cor Cordium. Three Cheers. The Compilations. Culture Of Ascent. Middle Earth Album. Lex Live DVD. Skallagrim T-Shirt.

Dreaming City T-Shirt. Chronomonaut Shirt. Breaking T-Shirt. Double Live Shirt. Lair Of The Wurm Cassette. Digital Download. A Matter Of Time. Ultimate Middle Earth Download. There is an almost Metallica-like feel to the guitars, and Babb's huge bass sound dominates as Pryor's vocals manage to glide over this dense foundation and yet pierce through it at the same time. Sellsword continues in a similar style, with Sabbath-style guitar work joined by forceful keyboard chords.

We are not in prog metal territory here? Steel has more light and shade and whilst still very muscular overall, there are more traditional prog-orientated chunks of keyboard within the ominous ensemble instrumentation. Pryor's voice once again cuts through the wall of sound with both power and clarity.

A well-timed change in both atmosphere and tempo occurs with a trio of instrumental tracks. A Spell Upon His Mind has pulsating keyboards and effects, with the electronica accompanied by haunting guitar overtones. Moon Pool has a hypnotic jazz-influenced drum and bass beat dominating, but the unsettling, spacey atmosphere is maintained by the intertwining guitar and keyboards.

Finally, The Dark re-emphasises the dark and menacing atmospherics with deep chiming guitar over a rich ELP-flavoured Hammond organ. Moving into the heart of the album, The Ogre of Archon has Babb take over the vocal duties and this helps give the track a heavier Jethro Tull style at times, mixed with hints of Groundhogs and the Zeppelin-influenced sound of Rush's debut album? Pryor's singing on The Forlorn Hope contrasts nicely with the heavy music, as Skallagrim's quest continues.

However, there is a refreshing switch in tone as acoustic guitar and a pastoral Wishbone Ash-style is introduced mid-way, and the "dream on, dream on" vocal refrain signals a return of our thief's memories, long dormant, of his lost love and her name?

The Writing on the Wall is dominated by a rumbling, swaying, funky tempo, and it definitely gets your head nodding in time to the music under the powerful vocals, as it progressively builds up in intensity.

The band have fun with some Tarkus-like keyboard patterns and the catchy chorus makes this one of the most accessible tracks, encapsulating the overall feel of the whole album in one track. At just under 10 minutes in duration, Hyperborea is pure classic Rush, with Lifeson-style guitar patterns from the very start. There is more light and shade here, with Xanadu touches to the synthesisers, bells and percussion.

It comes over as a genuinely affectionate homage to the Canadian band in their late '70s period, and everyone seems to be having a whale of a time as a result, as our hero sets out for the final part of his quest. Finally, Bright Sword sees Skallagrim reach the iron doors of Zagzagel and reprises the theme from A Desperate Man from the previous album? If Dreaming City whetted your appetite for Glass Hammer's epic, heavier-style of classic '70s rock with prog flourishes and a dramatic retro-style fantasy narrative, then Skallagrim definitely delivers it once again.

It is an album that rewards repeated listening, and whether you embrace the synergy between the music and storyline, or simply enjoy the shifting musical soundscapes, Babb, Schendel and the band are clearly in their element as they knowingly mix the old and new to create something fresh, heavy and powerful, and yet undeniably progressive.

One of the things that can irritate me about reading reviews, and in particular most of the reviews of GH indicate they sound like something or someone else. Lets address this - apart from the occasional Yes, ELP, Rush, Genesis, etc that come out with a unique sound -- there are relatively few of these "master" artists in each era.

We were incredibly blessed those my age to have gone through that era of progressive rock from the 60's and 70's. But make no mistake, that kind of music existed, just not in the rock n roll catalog. They all cut their teeth on classical music and transmutated it into rock n roll and it became its own genre. That doesn't happen very often. I enjoyed the "Yes" era of Glass Hammer more than any Yes album they produced after Tormato lol yes I actually liked that one. GH had a love for that early Yes sound, had the chops, had the right singer - so why not?

I loved, and still love Secret through Perilous. I'm sure it does, but I for one don't go into a project looking to critique it, and pick it apart for what it sounds like, and examine every verse, chorus and meter for how clever it is. Its just like a new movie - I have probably seen the basic plot a thousand times but I still go to that movie wanting to be entertained.

Let me say, as a fan and music lover of almost all types - I absolutely love this latest project of GH. I got it early and have been listening to it every day since. It has a hard rock edge yet stays melodic; it is dark but whispers hope; it has a story that I am invested in, has a surprise twist to it at least for the die hard GH fans , and I am very interested in how this tale will unfold in the third installment of the trilogy.

I honestly could care less if it sounds like anything else - I am enjoying it as its own work very, very much. I think that GH just keeps getting better - and I am very happy they are producing fantastic prog rock for us to enjoy practically every year 14 full length projects in 18 years!

PS - what a find with the new vocalist -- WOW. A Matter of Time Time: nearly 30 years now! Tolkien, C. Lewis anyone? Time: It's an invention, one that marks the human journey; bigger brains that mine tell me it's relative- seconds can drag, hours can speed by, and personally, here I am nearing the last legs of my own journey- and GLASS HAMMER has been part of that journey for almost half of it.

On this particular release, Fred and Steve called upon their percussion powerhouse Aaron Raulston, and some musicians like Dave Bainbridge, Walter Moore, Reese Boyd, and Hannah Pryor to flesh out a fundamental reworking and revisiting of music from their earliest albums, "Journey of the Dunadan", "Perelandra", and "On to Evermore". Glass: Easily shattered, forged in fire, translucent, multi-hued, prismatic. Hammer: An instrument of construction, hard-driving, useful, a potential weapon.

And of course, one of those contradictions when placed together- yet it somehow creates something more than the sum of its parts. The Music GLASS HAMMER has placed itself squarely in the symphonic progressive rock realm utilizing classically-based, grand, eloquent layers of keyboards and sizzling synthesizers and piano, crunchy and active bass guitar lines, complex and intertwined compositions in which one line grows, changes, is taken up by guitar, shifts to piano and bass, drums come pummeling in, mellotrons are added for heft or mystery, vocals bring back the grandeur, lyrics speak of heartbreak, conquest, loss, victory- and hope.

Guitarists have come and gone, but the best ones have utilized tasteful acoustic and clean guitar work as well as some soaring leads.

For my money, Kamran Alan Shikoh was the guitarist who was with the outfit long enough to bring a lot of sass, pizzazz, and class to the guitar input. On "A Matter of Time" my impression is that this collection begins and ends very well. To my ears it loses momentum as it goes, and picks up again toward the ending of this album. Although as a committed listener, there's nothing bad here, it's hard to match "Lliusion", "Felix the Cat", and "Heaven".

When GLASS HAMMER is in full stride, they match the finest of outpourings from any progressive rock outfit you care to name- the grand, the stirring, the heartfelt, the bold, the positive, the lyrical, all reaching upward and striving onward, all of which for me at least makes progressive music the ultimate musical form. They bring the requisite musical mastery- their instruments, their compositions, their ideas and concepts, and certainly have demonstrated a vision and commitment that has lasted nearly thirty years.

At the core, Schendel and Babb have put forth from the beginning music that has stood the test of time- I told you up front I'm biased and respectful and affectionate. To Sum It Up Long may they run, these two friends, this community of musicians, this level of commitment and positivity and clear- eyed vision- our sad and suffering planet needs such as this.