Glass Hammer Mini Reviews

Journey of the Dunadan
GH's first album, Journey of the Dunadan is based on The Lord of the Rings by J.R.R. Tolkien. "Derived from" might be a more apt phrase, since the storyline of the album diverges markedly from that of the novel. With plenty of varied, memorable and, above all, whistlable melodies and interesting lyrics, this album introduced the tradition of excellence for which Glass Hammer has become justly renowned.



Perelandra
This dark fantasy is based in part on C.S. Lewis' The Chronicles of Narnia and in part on the books of his Space Trilogy. But the underlying story, like those of most GH albums, was dreamed up by founding members Fred Schendle and Steve Babb. And, it is indeed dark and dreamlike. There's evil here, fighting to overcome goodness and love, just as it does in our lives. Here, however, it is embodied in a magician called Liusion, whose power surges through the music, hypnotic and seductive. In the end, though, Perelandra escapes or, does she?



On to Evermore
Liusion is once more at work in Longview, wrecking lives, breaking hearts, and trying to bring about the reign of the darkness of hatred and fear. Though there is darkness and sorrow in On to Evermore, there is light as well and the hope of redemption.

There is, of course, also much great music, both instrumental and vocal. The album is also noteworthy for the debut of Walter Moore, longtime GH
drummer, as a lead vocalist.

A Halfling's Holiday in Bree Review

Glass Hammer's Steve Babb has written a story to accompany and explain the band's latest album, The Middle Earth Album (June 15, 2001), in which he chronicles the unexpected adventures of Mr Hamson Brandybuck, grocer, of The Shire.

Like another hobbit of whom we have heard, young Mr Brandybuck has more about him than meets the eye. This is evident upon his introduction, which finds him peacefully fishing more than a mile outside the village of Bree. Though his cousins have told him it is unwise to wander in the wild lands, and though he has heard reports from both dwarves and rangers that unfriendly creatures are about, Hamson is unconcerned, even scornful. A fishing expedition beyond the village, in broad daylight, rates as the tamest of adventures. Or, does it?

Hamson's modest adventure suddenly turns into something rather larger than he can handle, and his prospects of getting out of Chapter One in one piece seem bleak, but for the timely appearance of a Mysterious, clairvoyant stranger. As Hamson is to discover,, this "man with the silver sword" has a knack for turning up in the right place at the right moment. For now, though, he sends the hobbit off home to supper and disappears.

And there Hamson's adventures would have ended, but for his decision to have a talk with Dwalin Ironfist, and the decision of a pretty young southerner to have a talk with the dwarf at the same time. It is during this conversation that we learn of Hamson's other, less worldly calling. He is a poet and song writer; apparently of some reputation, since the Glass Hammer guild, a popular band of minstrels with a more or less steady gig at the Prancing Pony, know many of his songs. More importantly, to the story anyway, this encounter draws both Hamson
and Dwalin into a dangerous adventure involving the pretty and reckless maiden, a troll, and that same hero with the silver sword.

Mr Babb writes with verve and panache, and not a little originality, weaving together elements familiar both to Fantasy readers, and especially J.R.R. Tolkien fans, and to Glass Hammer fans. In particular, long time GH listeners will recognize Balin Longbeard as the hero of a song from Journey of the Dunadan, GH's first album. Here, as the saying is, the legend comes to life. Mr. Babb presents a fine piece of fan writing here, melding the original material all but seamlessly with the given setting and context, while providing helpful if not entirely essential background for the album. That is, one may enjoy The Middle Earth Album without reading the tale; but, reading the tale gives added depth and coherence to the album.

The tale is not wholly without problems. The heroine's mode of dress would certainly have shocked Professor Tolkien, for instance. but, both it and its consequences are amusing, and the author is careful not to cross the line between amusing and raunchy. There is nothing implied about her here beyond that the young lady is, in fact, very young and rather foolish. Her daring and thirst for adventure, while unusual, are not without precedent in Tolkien's writings. At the same time, the happy ending both for Hamson and for his friends is most satisfying. We look forward to more tales from Mr Babb, both with and without GH albums to go with them.

Chronometree Review

According to Glass Hammer's official web site their new album, Chronometree (May 1, 2000), is an affectionate spoof of 70s Progressive Rock. This should be immediately evident to anyone who grew up in and absorbed the atmosphere of the 70's (to say nothing of older and wiser souls) even if, like mine, their understanding of Progressive Rock trends of the day was all but nil. There's a feeling in this album that even I recognize as not just familiar, but comfortable, as if a part of myself were externalized and crystallized in the music. The first listen felt like coming home; though, with a half rueful, half selfdepricating smile.

This is not surprising, since Fred Schendel, whose project the album principally is, is some two months younger than myself, having been born in March 1964. As isolated as my disabilities made me during my growing up years, clearly I absorbed the essentials of the same world Fred grew up in.

The melodies, the arrangements, and the production/presentation of this album are all superb, the lyrical sections blending seamlessly with the louder, more turbulent sections, the whole presentation creating and sustaining a dreamlike atmosphere. Only the self-consciously mannered musical and vocal presentations and the slightly silly lyrics give away that Chronometree is a takeoff.

An Eldrich Wind, my favorite track, illustrates the point very well. The song has a beautiful, haunting melody supported by a sensitive, almost minimalist arrangement which relies heavily on the guitar. Meditative, sweetly melancholy, the song leads you into that state where memory and dream, past, present and future become one and your heart is open, yearning for what is beyond.

Or, it would, if you didn't pay too much attention to the lyrics and the way they're presented. apparently mesmerized by watching his record (or more probably the label on the record) spin, Tom, the hapless hero of the album's storyline, falls into a trance like state in which he believes that voices from beyond this world are speaking to him through the music, calling him to a higher reality in other worlds. That is, he has a mystical experience. But, though it seems very rich and wonderful to him, it seems just a touch inauthentic and laughable to the outside observer, the listener, though I can't help also feeling just a bit sorry for Tom.

His mystical experience would seem, if his slurred speech and insistently earnest manner are anything to go by, to be made up of a Pot high, loneliness, and a desperate longing to belong somewhere and to have something of his own to cherish. Probably all of us, including those who have never tried Pot, can relate to this state of mind. And we smile in our greater experience and wisdom, knowing that he has been called to nothing beyond a nap.

Perhaps younger listeners miss this obvious though gentle point. And, though this knowledge adds a dimension of fun to the album, I suppose it is not strictly necessary for enjoyment. However, to state the obvious, Chronometree is a progressive rock album about listening to progressive rock.

It's also about the dangers of taking any art form too seriously, and of taking oneself too seriously. To Tom, Chronometree reveals itself as the revolutionary new science of time. But, in the end, it reveals itself as nothing more nor less than the science of wasting time. Tom is a sort of cross between Don Quixote and Linus Van pelt waiting for a Great Pumpkin who never arrives.

Whether regarded as spoof or straight Prog this, Glass Hammer's latest effort, displays their talent to great advantage. I'm a great fan of Fred's and so, wile enjoying his keyboard wizardry, I was disappointed that he seems to have no vocal presence at all on the album. However, Brad Marler's vocal work, if not a sufficient substitute in the view of the Fred-smitten, is certainly up to GH's usual standard of excellence.

The increased prominence of guitars, besides fitting well with the album's theme, builds on work familiar to GH fans from Journey of the Dunadan, Perelandra, and On to Evermore. The orchestral passages, too, indeed the album as a whole, seem familiar and yet delightfully new as GH continues to grow and develop, as any dynamic organism will. Chronometreeis a worthy successor to the band's previous discs, crowning earlier accomplishments, while foreshadowing future triumphs.