Progressive Metal

Album number 14 from the premier American symphonic rock band.  Steve Babb and Fred Shendel mix up the deck a bit with different cast of characters but the core sound remains intact.  If you are unfamiliar with Glass Hammer what you need to know is that Steve and Fred have assimilated the best elements of 70s US and Euro prog and melded it into something fresh.  Vocalist Jon Davison sounds so much like Jon Anderson that he was actually poached by Yes!  This is lush symphonic rock with killer keys.  Think in terms of Yes, Kansas, ELP, and Gentle Giant and toss 'em in a blender.  That's the Glass Hammer sound.  Lots of interesting guests this time around.  Old GH alumni Walter Moore and Michelle Young make and appearance.  Higher profile guests include Randy Jackson (Zebra - not American Idol!), David Ragsdale (Kansas), and Rob Reed (Magenta).  Another triumph from the good old southern boys of prog.  Highly recommended.

"Progressive rock and boy-band pop seem like natural enemies at first. The former's fascination with ornate, elongated passages of finger-exhausting musicianship is in almost every way the opposite of the latter's emphasis on catchiness first; it's hard to imagine turn-of-the-millennium hits like "Bye Bye Bye" with extended guitar and keyboard solos. Yet ever since A Doorway to Summer, their 2005 debut, Moon Safari has put to rest the notion that progressive-minded songwriters can't make pop that's as hook-driven as it is ostentatious. Grandiloquent epics like "Other Half of the Sky," from the 2008 double album Blomljud, weave together widescreen arrangements with the band's signature five-part vocal harmony, a feature unmatched by few groups in any genre, anywhere. It's easy to isolate the audience with solipsistic soloing and obtuse orchestrations, but from day one Moon Safari has made prog that—assuming the layperson were more amenable to songs that run upwards of thirty minutes—could lead them to something like a pop crossover hit.But while the union of hook-heavy vocal interplay and '70's prog stylistics gives Moon Safari an unmistakable, unique sound, it also handicapped them in a significant way for their first two LPs. The group's accessibility on A Doorway to Summer and Blomljud, along with its technical prowess, is unassailable, but the high-fructose sweetness of its style leads to a diabetic rush when stretched out onto songs that span ten to thirty minutes. For example, "Other Half of the Sky," the titanic thirty minute showstopper off of Blomljud, has so many memorable hooks that by the time it's run its time out, it's hard to remember all of them. The classic problem of "too many voices leads to a noisy room" was the defining problem of Moon Safari's otherwise enjoyable sound for some time. All that changed, however, in 2010 with the release of Lover's End.It is no exaggeration—even as the decade remains young—to say that Lover's End is one of the finest progressive rock records of the '00's. Hell, it's not even crazy to say that it's one of the finest pop albums of the '00s; anyone, even those turned off by prog's eccentricities, can find something to love on this mellifluous collection of songs. From the a cappella charm of "Southern Belle" to the hook-loaded "New York City Summergirl," Lover's End is chock full of goodness from beginning to end. What explains its genius is that in contrast to A Doorway to Summer and Blomljud, the songs are given exactly the amount of space they need, and not a second more. Some songwriters may feel hamstrung by the verse/chorus structure, but it's a perfect fit for Moon Safari's joyous approach to music.With their newest studio outing, Himlabacken, Vol. 1, Moon Safari continue the refining of their sound, and while this isn't the breakthrough that Lover's End was, it nonetheless attests to the brilliance of this group. Whereas the latter was bound by a loose concept (love and heartbreak), Himlabacken Vol. 1 is less a lyrics album than its predecessor. The cost of this is that the music is less distinct in its cohesiveness, but there are no shortage of catchy passages and amped-up solos. "Mega Moon" comes off as a tribute to musical theatre, with "The Very Model of A Modern Major General" vocal delivery interweaving with Queen-esque bombast to an impressive effect. "Too Young to Say Goodbye" sees and matches the polyharmonic beauty of "Lover's End (Part One)." By sticking to concise song formats—the longest cut here runs nine and a half minutes—Moon Safari ensures that things never run out of steam, an essential quality to any good progressive rock band.If nothing else, Himlabacken, Vol. 1 proves that there's one thing Moon Safari can't be accused of: being unaware of themselves. Grand finale "Sugar Band" is as much a statement of identity as it is a slice of epic pop: "Sweet and saccharine are we," they declare, followed by "syrup's the blood in our veins." (Less successful is the clumsy Katy Perry innuendo of, "suck our big candy canes," which is thematically consistent but tonally off.) Both "Sugar Band" and "Little Man," one of the few Moon Safari songs to feature a solo vocal, are emblematic of the mushiness that might turn some prog fans away from their music. The latter, while obviously a touching document of a father's love for his son, does feel a bit out of place in how deeply personal it is; part of the strength of this group's sonic is the universality of its pop appeal, and the intimacy behind "My Little Man" makes listening to it an almost voyeuristic experience. "Mega Moon" and "Sugar Band" are better at capturing the convivial spirit of the band that's accessible to all.As with past outings, even those drawn to vocal harmonies might find it hard to stomach all of the sweetness of Himlabacken, Vol. 1. But what ultimately makes this LP successful is its unpretentious commitment to fun. Moon Safari are a rare collective that prove daunting musical chops aren't anathema to accessibility, and with Himlabacken, Vol. 1 they've made a recording that, while not the magnum opus that Lover's End was, is as true a capturing of their ethos as there could ever be. Sating a sweet tooth brings to mind the phrase "guilty pleasure," but there's no guilt involved with music as first-class as this. Who knew being in a boy band could sound so classy? " - Sea Of Tranquility

"“Mirror your World through my Touch…Set me Free, oh Set me Free”These words, from the song Colours on Magenta’s new We Are Legend album, are about Vincent Van Gogh, but they could also describe the feelings engendered by this imaginative and impressive release from the premier Welsh Progressive Rock band. We Are Legend underlines Magenta’s outstanding musical credentials, but they have far more than just great technique, imbuing their songs with melodies to stir the soul and stories to fascinate the mind.In a recent interview with Peter Jones on his Progzilla Radio show, Tales from the Tiger Moth, Magenta main-man Rob Reed revealed that he wanted this Magenta album to be “different”. Since their last album, The Twenty Seven Club in 2013, Magenta have overcome some issues, including illness, but Reed revealed that he had struggled in writing a new Magenta album after the peaks he felt they had achieved. As a result he channelled himself into his own excellent Mike Oldfield inspired solo Sanctuary projects and helping Christina Booth complete her fine emotional solo album The Light. The results of this break have clearly refreshed Reed as We Are Legend projects Magenta into a new trajectory, fizzing with energy and creativity.Magenta have never made compromises in their music, ever since Rob Reed decided to stop trying to pursue mainstream success and produce exactly what he wanted to – a truly epic and distinctly ‘uncool’ double debut album Revolutions in 2001 shamelessly referencing his 1970s Prog heroes, Genesis and Yes in particular. Magenta went on to develop their own distinctive sound built around the trademark triad of the pyrotechnics of Chris Fry on electric guitars, Christina Booth’s pure, luminescent vocals and Rob Reed’s mastery of the Piano, Hammond and Moog. However, when considering the new album Reed initially felt restricted by that template and felt he did not want to re-tread old ground. Therefore, he decided to channel what he felt was ‘negativity and angst’ about the direction of the next album, similar to his frustrations prior to Revolutions, and decided to “make a record for me – I will use whatever I want on it”, leading to an album which includes distinctly ‘un-Magenta’ elements such as drum loops, sequencers, dashes of dance music rhythms and heavy guitars as Reed and the band stretch their boundaries. But long-term Magenta fans should have no fear, they are still recognisably Magenta, but noticeably reinvigorated with energy, sounds and an edge, showing a band that does not compromise and wants to move on in terms of its expression and imagination.In a break from previous albums, there is no overall ‘concept’ around this release. Magenta have chosen to present three distinct songs with separate narratives and atmospheres, but there is a cohesive feel to the whole album. In a throw back to vinyl days there is one epic ‘side long’ track and two shorter songs (both in the region of ten minutes) echoing the layout of classic Yes albums Close to the Edge and Relayer, but let’s be clear, Magenta are no ‘Prog by numbers’ clones and have produced a remarkable and vibrant progressive rock album.The epic opening track, Trojan, starts atmospherically with synths which then explode with squealing guitars over a juggernaut of bass and drums, immediately evoking a sense of science fiction. Steve Reed, lyricist and Rob’s older brother, has shared that the theme of this piece was initially suggested by the opening few minutes of the music alone, presented to him by Rob, the musical ideas helping to inspire Steve’s lyrics towards a peculiar yet interesting sci-fi story. In short, huge robots emerge from the sea and initially appear to be benign, but ultimately act as ‘Trojan horses’ to take over the world for a long forgotten and banished human species that took to living beneath the seas and have now returned to reclaim the Earth!If you think that’s bonkers then wait until you’ve heard the music which sounds like some sort of spectacular soundtrack for a Japanese Manga or Studio Ghibli cartoon. This is pulsating music. sweeping across the narrative in a range of distinct parts. Rob Reed revealed that he was influenced by Marillion’s Misplaced Childhood suite, which has the reputation for being epic in length, but is a series of linked songs. Similarly in structure but not in style, Trojan is a series of song sections over 26 minutes ‘sewn together’ (as Reed puts it), although you can hardly see the joins, such is the skill of Reed and the band.Following the opening cinematic section, Chris Fry kicks in with a heavy guitar riff and Christina Booth, over shimmering dance inflected keyboards, chants the early panic of those on land confronted with the slow, emphatic progress of these strange new conquering robots. The atmosphere changes to the gentler perspective of a little girl in Japan who thinks of the robot as a ‘Tin Man’, with imagery akin to Ted Hughes’ Iron Giant. Booth shows great vocal versatility as she switches from the softer vision of the small girl to more dramatic parts of the narrative as the story develops. The music flows descriptively – you can visualise the slow, inexorable march of the robots as Magenta interweave sinuous dance inflected keyboards, reminiscent of Faithless, with passages of fluid, dreamy blues tinged guitar at some points. Pastoral guitars underpin a peaceful passage with Booth’s soft vocals before distorted guitar breaks in, possibly to indicate that the ‘paradise’ of ease brought by the robots will be ultimately destroyed.I hope you’re keeping up!!!Don’t worry, Magenta’s imaginative music carries you along and you may not always understand (or even care!) exactly what is happening as you dive into the rich multi-layered elements that make up the epic sound and story. Steve Reed has always sought to look at subjects from unorthodox and differing perspectives, such as the ‘glutton for punishment’ angle of the classic Gluttony from Seven. Similarly, in Trojan he seemingly shifts from the fate of the land civilisation to the perspective of the long exiled species of undersea dwellers held within the Trojan Robots, looking forward to hopefully reclaiming their world. A beautiful acoustic guitar led section of hope emerges with Christina singing beautifully;“The light it fades, When you all will sleepWith love to share, Anger drifts awayAs the hurting stops, With the time to findPaths to tread in this world…I see the need inside your soulThe love that’s in your heart.”Such poetic and touching lines perfectly match the emotive music as Fry’s languid guitar flows along before ascending into a brief transcendent solo, characteristic of his more restrained performance throughout the album. It’s remarkable that amidst this science fiction complexity they can skilfully insert a song of such delicacy and feeling, underlining that for Magenta the priority is always melody and emotion, not the sterility of mere technique without feeling. Jonathan ‘Jiffy’ Griffiths shows his versatile and subtle percussive skills alongside Fry’s eerie, expressive guitar as the piece sinisterly shifts towards the treachery of the robots as they turn against the land dwellers. The whole composition comes full circle as the dramatic robotic fanfare from the intro re-emerges with soaring guitars over pulsing synths and as one civilisation falls another rises from within the Trojan robots with hope:“At the break of day, As the silence roarsAnd the dust it falls, Open up the doorsWhen we’re stepping out, Walk into the light, Man’s re-birth.”Both musically and through the narrative, the opening track is quite a ride! Definitely a piece that, like most great tracks, pays repeated listenings with a strange story that reveals itself more over time.Legend is another imagined narrative song with a post-apocalyptic sci-fi feel, partly inspired by the films Omega Man and I am Legend, and the intro certainly sounds cinematic as weird sounds throb and pulse before a crunching combination of drums, bass and guitar puts us firmly in the stark post-apocalyptic setting. Dan Nelson, long time live bassist, has now fully joined the band and with new member Griffiths’ fine rhythmic work on drums they underpin this album with precision and power, particularly on the leviathan that is Legend. Christina Booth sings powerfully as this driving song describes the fate of one of the last men on Earth, before Reed’s synths and Fry’s weird distorted guitars intertwine in a nightmare musical depiction of the vampiric state into which humanity descends. A strange but captivating song, it concludes almost elegiacally with the last human trying to hang on to the final vestiges of his humanity as the vampires hunt down the weak and vulnerable, even amongst themselves. Perhaps it’s a comment on the self-consuming and self-destructive nature of much of our society… or just a dramatic but depressing story about zombies and vampires!! Who knows, but the journey is compelling.Colours is another remarkable song about the tortured and tragic soul of an artist. It starts with a beguiling musical box intro before erupting into an intense passage with staccato and textured sounds underlying Booth’s manic vocals. The evocative and multi-layered music conveys images of the artist, on the edge of sanity, passionately and frantically applying his paint to the canvas. Apparently Rob Reed presented the music to lyricist Steve by simply saying “It’s about Van Gogh”, but he had no words, making it remarkable that Rob was able to so fully evoke the musical images of a complex and tortured individual obsessively daubing paint onto canvas to try and express his innermost thoughts and feelings. Flute-like melodies move through to subtle blues inflected guitar, a short fluid Hammond Organ passage followed by a soaring guitar vignette by Fry, with Nelson in fine form, constantly changing the colours of Magenta’s musical palette. Van Gogh perceived everything in swirling vibrant colours, mirrored by the music as the impetus picks up with insistent synthesiser, orchestral keyboards and driving guitars, Steve Reed adding one of his best lyrics to reflect the power of the music and convey the artist’s sad decline in a maelstrom of creativity which he cannot sustain. The music and lyrics combine so well in this remarkable offering, building darkly to an intense finale with Rob Reed excelling, culminating in intensely sung and chilling lines:“Save me, love me, Gun in your hand and I’m waiting to dieSky bright, sun shineField like the sea, I’m wanting the endDarkness, silence, Near to the end TheoPlease set me free, set me free.”The ending is rather enigmatic, but there is a suggestion that Van Gogh’s brother Theo shoots him to put an end to his suffering in an act of mercy. Whether fact or not, it is certainly an evocative and emotive song which displays the combined talents of Magenta. A real showcase for the band, particularly Booth, as the song builds to its dramatic ending, it has already become rather a live favourite, no wonder as it combines the music and lyrics so well.In We are Legend Magenta have created one of the best albums of their career by daring to stretch and express themselves with great integrity and dazzling imagination. This will be regarded as one of THE progressive rock albums of 2017 – Magenta have definitely added to their own ‘Legend’." - The Progressive Aspect

Originally formed on Long Island, NY, Ice Age began in 1991 when the four members clicked over a mutual passion for classic and progressive rock with a penchant for heavier music undercurrents.The band was signed by the noted progressive label Magna Carta resulting in 1999’s THE GREAT DIVIDE.  This ambitious debut stands the test of time, acclaimed and sought-after by progressive rock and metal fans alike.  2001 saw the release of the band’s sophomore record LIBERATION, pushing the boundaries even further with melodic heights and metallic crunch.  The band supported the release with festival performances and tours of Europe and the USA.  At that point the band took an extended break but the members stayed in contact.Now 22 years later Ice Age is back with their third album WAVES OF LOSS AND POWER. The material that comprises the release finds the members of Ice Age wearing their varied influences confidently on their collective sleeve.  Once again the band conjures the spirits of Kansas, Genesis, Styx, fleeting shades of Queensryche, Rush, and Fates Warning.  In the true prog tradition, Ice Age continues their epic sagas begun on their first two albums.  In all respects, WAVES is a seminal masterwork of catchy, thoughtful, progressive songwriting.The album was mixed and mastered by Rich Mouser (Transatlantic, Dream Theater, Spock’s Beard).  The cover art concept and booklet design were brought to life by Killustrations, with a fresh new band logo by Thomas Ewerhard.Ice Age will see the band returning to the US festival stage by kicking off ProgPower USA XXII on September 6, 2023 in Atlanta.

Latest Glass Hammer album is the second part of a projected trilogy.  The album finds the band with a new singer (quite excellent) and a subtle change in direction.  While its still very much a Glass Hammer album all the way through I noticed a slighter emphasis on guitar than in the past.  I asked Steve Babb about this and he tells me that Fred Schendel is playing guitar - and quite well.  I did notice that they brought in a couple of guitar ringers who I suspect are doing some of the heavy lifting.So perhaps a bit heavier than in the past but overall an album that any Glass Hammer fan (or fan of symphonic prog) will dive deep into.  Highly recommended."As a youngster, I quickly learned from movies such as The Empire Strikes Back and books like The Two Towers that the second instalment of a trilogy is always the deepest part of the story. With the latest musical offering from Glass Hammer, one of America’s most respected latter-day progressive rock bands, that appears to still be the case. Now twenty studio albums into their impressive career, they’ve followed up last year’s well-received trilogy opener Dreaming City with second volume Skallagrim – Into The Breach, and it’s a cracker of an album.Bassist and lyricist Steve Babb is clearly in his element authoring this multi-part fantasy tale (in fact, his first written volume of the book series is due for release next year, a 400-pager titled Skallagrim – In The Vales Of Pagarna). It’s clear that by putting pen to paper (or was it quill to scroll?) he believes strongly enough that his storytelling should also adorn bookshelves worldwide – and he’s probably right. His love for the genre is palpable, further evidenced by the effort he and founding bandmate Fred Schendel have put into crafting these lush albums. As with Dreaming City, snippets of the story are provided in the liner notes for each track along with the lyrics and accompanying sketches, adding another dimension to the full album experience. I won’t get into spoilers about the story itself, but suffice to say that it’s got enough substance to place it a cut above the more surface-level sword-and-sorcery tales out there, and the more fleshed-out book should prove to be a worthy companion. Fantasy for grown-ups? Perhaps, young warrior, perhaps.Following the album’s opening bookend, the first proper song Anthem To Andorath comes storming in with its grungy riff, deep groove, and infectious chorus, showcasing the broad vocal abilities of Hannah Pryor. A newfound gem in the band’s ever-evolving cast of players, Pryor croons sweetly and belts out passionately with the same apparent ease. Although longtime listeners may lament the absence of Glass Hammer veteran Susie Bogdanowicz, Pryor really delivers here. It’s always a gamble shuffling the deck – particularly in an age when some fans make up their minds before hearing a note – but Babb and Schendel are seasoned pros who know a thing or two about what works with their music. They’ve made a winning choice here, and any fans wary of this change should find their fears quickly eased.Glass Hammer in 2021 is an edgier affair than fans of their earlier catalogue may be used to. They’ve relished exploring darker and heavier roads on these first two volumes of the Skallagrim chronicles, without straying too far from their core. Enough of their past elements are retained that this music still sounds like them, it just isn’t filled with angelic choirs, pipe organs and celestial 20-minute symphonic epics. There are still gentler sections, spacy moments and ethereal prog rock, but there’s a dominant ballsy crunch too, a doomier tone that places these albums on a different shelf. But as we know, they will venture again into different territory eventually, never content to stay in one place too long… AC/DC, they are not.The heavy guitar and Hammond organ vibe of Sellsword will draw the usual comparisons to the classic… well, heavy guitar and Hammond organ bands. But it’s separate from that music in its complexity and modern feel, and again Pryor confidently glides over top of the fray with soaring and soulful vocals. Likewise with the track Steel, which finds the band exploring even more style shifts within the heavy rock-riff blueprint. Thus far, we’ve been given the best opening run of music on a Glass Hammer album since at least 2016’s Valkyrie. Young session player Reese Boyd has been fairly prominent on the last few albums in his role of guitar prodigy, and contributes some dazzling playing once again. While Schendel can bash out killer riffs with the best of ’em, Boyd is able to colour the tracks with terrific solos and deeper textures. Time to make this cat a fully-fledged member, methinks.The album drifts into electronic instrumental territory with a pair of what are essentially solo tracks. The moody A Spell Upon His Mind finds a lone Babb delivering a piece that is about as far removed from the preceding heaviness as you could imagine. Schendel, too, performs unaccompanied on the quirky Moon Pool, a more upbeat track complete with drum loops and percussion sounds. They’ve injected these kinds of interludes into albums before, but they are always welcome, and I suspect they’d excel at a full album crafting this kind of electronic noodling, as they seem to have a knack for it.The meat of the Skallagrim story is largely found in the album’s second half, beginning with Babb’s turn at the lead vocal mic on The Ogre Of Archon, a return to the appealing heavy riffage reminiscent of Sabbath and early Rush. If I’m mentioning ‘heavy riffs’ a lot, that’s because they are here in spades, but the album is far from one-dimensional, and its this variety that is perhaps the most impressive feature of Into The Breach.Babb hangs on to vocal duties (with some brief assistance from Schendel) on the expansive title track, the first of back-to-back eight minute pieces which features an instrumental breakdown allowing for some fine tradeoff solos. Sometimes with so much focus on how Glass Hammer produce their albums, we forget to acknowledge what great players these guys are. Babb’s striking bass tone bouncing around underneath Schendel’s keys and Boyd’s blistering guitar is one of the major album highlights. This song simply must be played live in the future… or I assure you I will be loudly asking to speak to the manager.The Forlorn Hope is likely to be mentioned by fans eager to rattle off favourites, with its powerful and thudding heavy rock verse structure and brighter choruses eventually dissolving into a dreamy acoustic second half. Pryor returns to deliver melodic and tuneful vocals in what is surely the album’s prettiest moment, and longtime session player Brian Brewer (scheduled to appear with the band on the next Cruise To The Edge) adds some subtle slide guitar to accent the piece. It’s an odd arrangement, but then nobody’s crossing their fingers for it to be on the radio anytime soon – even if it should be.In a return to the Rush-infused sound of Dreaming City, the shimmering Hyperborea serves as the album’s lengthy climax, and though it may be a groaner to choose the ‘proggy epic’ as my favourite track, I can’t help it – this is a joyous piece rich in Glass Hammer-isms and with Hemispheres/Permanent Waves-era nods that make me smile – but the song could stand on its own even without those. Drummer Aaron Raulston’s heavy groove has been a key component of Glass Hammer dating back to 2014’s Ode To Echo, and he peppers this new music with a hybrid of metallic energy and tasteful nuance. Any band benefits greatly from a drummer who knows when to leave space and when to let fly with everything he’s got. Raulston is one such drummer, and he lifts this material by at least one full notch.With any catalogue as broad and sweeping as Glass Hammer’s, it’s impossible to predict where the latest entry will eventually settle in the hearts and minds of listeners. And when they’ve set their own bar so high for so long, they will certainly be aware that there are going to be peaks and valleys, often not apparent until looking back in hindsight a few years on. Not every album can (or should) be lazily described as a ‘masterpiece’ simply because the listener really likes it, as it cheapens the term in the process (I still say theirs is The Inconsolable Secret, for what it’s worth). Although these stalwarts of the scene always maintain a consistent level of quality, for my tastes they seem to really smack one out of the park every four albums or so, and they’ve done it again here. While I wouldn’t necessarily elevate Skallagrim – Into The Breach to ‘masterpiece’ status, it’s certainly among their finest, with nary a duff track to be found, and coaxes broad smiles of genuine appreciation. Great work, guys and gal. I look forward to many more listens… and no pressure, but I’m already jazzed to hear part three!" - Velvet Thunder  

2020 came to a close with LIQUID TENSION EXPERIMENT announcing their return and new album to be released on InsideOutMusic. Today, the legendary supergroup comprised of Mike Portnoy (Transatlantic, Sons of Apollo), John Petrucci (Dream Theater), Jordan Rudess (Dream Theater), and Tony Levin (King Crimson, Peter Gabriel) are pleased to officially announce that the new album ‘LTE3’ will be released on March 26th, 2021 via InsideOutMusic, twenty-two years after the bands’ last studio album. “After over 20 years since the last time we recorded together, the four of us stepped into the studio and it was as if no time had passed at all! All of the magic that made the first two LTE albums so special was still there and we had such a great time making this record. I’m extremely proud of what we created together and can’t wait for everyone to hear it!”-John Petrucci“The best thing to come out of 2020 was this long-awaited reunion! And it was surely worth the wait as after all these years, the magic chemistry was still there and stronger than ever!”-Mike Portnoy