Tag: Fred Schendel

Glass Hammer Smashes Time

On By Thaddeus WertIn progressive rock4 Comments
A Hole In The Sky

Do you long for the days when listening to FM rock radio meant hearing classic Todd Rundgren, early Chicago, ELO, ELP, Pink Floyd, and maybe a little Autobahn courtesy of Kraftwerk? Do you miss watching Rockford Files and Barney Miller on TV? If so, then you will love Glass Hammer’s new album, Chronomonaut. It is a trip back in time to those heady days of the 1970s when DJs thought nothing of playing an entire album side in the middle of an afternoon.

Brad Birzer has already written an impossible-to-improve-upon review of Glass Hammer’s latest, but I am so captivated by this album that I had to add my voice to the chorus of praise it is garnering. While Valkyrie was a beautiful and sympathetic examination of the horrors of WWI trench warfare and the toll it took on soldiers, Chronomonaut is a much lighter affair, at least in its brilliant mix of styles of music. Tongues are firmly in cheek throughout this update on the hapless protagonist, Tom Timely, whom we first met in 2000’s Chronometree.

Tom’s still convinced he’s receiving secret messages via prog music, and he is not a happy inhabitant of the 2010s. He is sure that he can travel back in time to the 1970s and fix whatever it was that made his life go off the rails. Where Chronometree was pretty much all in fun, though, this new chapter has some deeper messages lurking beneath the surface.

The music is all over the place, and I mean that in a good way. I hear snatches of early Chicago in the horns, some Houses of the Holy – era Led Zep, some early-80s new waviness, and a heavy dollop of Something/Anything? – era Todd Rundgren. Babb and Schendel put it all in a blender and it comes out sounding pretty glorious. Susie Bogdanowicz is still on board, thankfully, contributing her trademark angelic vocals. Aaron Raulston is solid as a rock throughout. He is the most adaptable drummer I’ve heard – regardless of the musical style, his percussion is a perfect fit. Steve Babb is now my favorite bassist – he is endlessly inventive and melodic without dominating the proceedings. And of course, Fred Schendel is marvelous on guitar and keyboards, pulling all kinds of vintage sounds out of his instrumental arsenal.

In the end though, amidst the sheer pleasure of listening to all of this ear candy, there is a sobering message: nostalgia for its own sake can be dangerous. As they sing in the album’s final and finest song, “Fade Away”,

“If you could truly travel back

You’d still not find the things you lack.

The glories you seem to recall

Were not glory after all.”

Tom, it turns out, is searching for Truth, and in the end he finds it. It’s a deeply moving moment in the arc of the album’s trajectory. There are not many bands who could pull off such a mix of engaging melodies with such a serious message. Glass Hammer, however, are not your typical band. They make it look easy, which is all the more impressive. Long may they run!

Glass Hammer Lives It Up In Italy

On By Thaddeus WertIn progressive rock3 Comments

 

Full disclosure – even though I arrived late to the party, I am a big admirer of Glass Hammer’s music. So much so, that I have spent the past four years since Ode To Echo was released steadily acquiring their discography. While they continue to sell most of their titles at their official site, some of their earlier albums are hard to find (thanks, discogs!). It’s been a real delight tracking their development from hobbit-obsessed Celtic proggers to seasoned philosophers. Along the journey, through many personnel changes, a few things have remained constant: the outstanding musicianship of Steve Babb and Fred Schendel, the angelic vocals of Susie Bogdanowicz, and uniformly excellent songwriting. All of these qualities came to a head with 2016’s Valkyrie, a concept album set in World War I and its immediate aftermath.

So it was with great anticipation that I heard the band was going to record a live performance of Valkyrie in Veruno, Italy. (Quick aside – what’s it take to get you all to do a show in Nashville, just a couple of hours north of Chattanooga?). Pared down to a core group of Babb, Schendel, Bogdanowicz, and longtime drummer Aaron Raulston, this is a satisfying and invigorating performance on all counts. Maybe it’s the fact that they rehearsed Valkyrie for several weeks before recording that album, but in this Veruno show, Glass Hammer powers through even the most demanding musical passages with confidence and ease. Babb, Schendel, and Bogdanowicz all sing lead, and their voices blend beautifully throughout the show.

From the moment Babb’s shivery bass notes boom out at the beginning of “The Fields We Know” to the impassioned closer, “Hyperbole”, Glass Hammer delivers a state-of-the-art progressive rock triumph. Along the way are many highlights – the swirling, kaleidoscopic “No Man’s Land”, where Bogdanowicz, Babb, and Schendel effortlessly harmonize while the music ping-pongs between frenetic riffs and ominous chords; “Fog of War” which, to my ears, is a wonderful tribute to Hemispheres-era Rush; “Dead and Gone”, which slowly builds from a tender Bogdanowicz vocal to a thunderous climax; and “Eucatastrophe”, which may be the most appealing melody the band has ever written. The pièce de résistance, though, is “Rapturo”. A delicate theme is played on piano, then Raulston enters on drums, and the music builds as Bogdanowicz sings of the sufferings of a veteran with a heartbreakingly beautiful performance.

Things lighten up with a nice medley of old favorites – “Chronos Deliverer” and a tremendous “If The Sun”. “Hyperbole” from the underrated Three Cheers for the Brokenhearted closes things out. This version made me rethink my initial impression of that song; it’s a monster of a rocker and a blast to listen to. And speaking of monsters of rock, Aaron Raulston’s work on drums deserves special praise. For the entire show, he lays down a solid foundation with impeccable timing that allows Babb and Schendel to work their instrumental magic on bass, keyboards, guitars, and synthesizers.

The bottom line: this is a performance that does full justice to one of Glass Hammer’s finest albums. Susie Bogdanowicz has never sounded better, Steve Babb remains one of the most inventive bassists in prog, Fred Schendel is simply amazing on keyboards, guitar, and vocals, and Aaron Raulston complements his bandmates perfectly. If you’ve never heard anything by Glass Hammer, Mostly Live In Italy is a perfect introduction, and you get to hear a progressive rock masterpiece from start to finish in an inspired performance. If you’re already a fan, Mostly Live In Italy is a must-own. ‘Nuff said!

UNTOLD TALES: Glass Hammer’s Tolkienian Prog

On By bradbirzerIn progressive rock2 Comments
untold tales
The latest from Glass Hammer and Sound Resources.

Pensive, deep, and resonating strings eagerly invite listeners to immerse themselves utterly, fully, and completely in the album.  From there, keyboards swirl in anthemic Emerson-esque majesty until the entire orchestra begins what is nothing less than an all-encompassing and fetching fanfare.

We the listener feel not the abstraction of the music, but its tangibility.  We might very well be able to touch it.  We are not “fans” witnessing a spectacle from afar, hoping to catch a mere glimpse from our balcony seats the smiles that pass between Susie and Fred, the nods between Aaron and Steve, or which guitar Alan is using on this or that tune. No, nothing like any of this. With UNTOLD TALES, we the listeners are members of the artistic endeavor as a whole, as much a part of the band as those on stage, and just as fundamental to the artistic success of it all.

Continue reading “UNTOLD TALES: Glass Hammer’s Tolkienian Prog” →

Glass Hammer News: UNTOLD TALES 1

On By bradbirzerIn progressive rockLeave a comment

Delights forthcoming from Glass Hammer.  As Steve Babb writes: “PREVIOUSLY UNRELEASED TRACKS AND MORE UNTOLD TALES begins with songs from 1993 and concludes with a live recording from 2017.”

Knowing Glass Hammer, this album will serve as the equivalent of one of Tolkien’s appendices in THE LORD OF THE RINGS.  And, I couldn’t be happier!

NPR Interviews Glass Hammer

On By bradbirzerIn progressive rock1 Comment
glass-hammer-2015
Glass Hammer from PROG, 2015

A really insightful interview with Steve Babb and Fred Schendel of Glass Hammer–about the band, the state of prog, the state of technology, and the state of culture.  The interviewer is not only intelligent, but he also knows which music to play.

http://wutc.org/post/glass-hammer-rock-stars-everywhere-their-hometown#stream/0

 

Susie Bogdanowicz: Best Female Vocalist, 2016

On By bradbirzerIn progressive rockLeave a comment
susie
Susie Bogdanowicz

Dear Progarchists,

Prog Magazine, led by the ever-amazing Jerry Ewing, has asked for a vote of the best of 2016 in a variety of categories.  The Prog Readers Poll, as Ewing describes it:

Here’s your chance to vote in the Prog 2016 Readers’ Poll.  2016 might not be year many of us will remember too findlay, for a variety of reasons. But music is the great leveller, and in music we all seek the great escape. Having just compiled our Critics’ Choice album of the year list, and casting an eye back over the past 12 months, then maybe 2016 did have something going for it… There were great new albums from Marillion, Opeth,Big Big Train, iamthemorning, Radiohead and more. Vibrant gigs from Haken, Public Service Broadcasting, Dream Theater and others. And new arrivals on the scene like Kylver, The Anchoress, Teramaze. Oh, and some blokes called Anderson Rabin Wakeman… Maybe 2016 wasn’t too bad after all… So who made your 2016 a real prog rocker? Let us know – you can fill in the form on Page 25 of the current issue of Prog. or you can e-mail us your picks for the following categories. Use the subject Line ‘Readers’ Poll 2016′, and e-mail your choices to progpoll@teamrock.com.

We’ve never (and I’ve never) done anything like this before, but I ask that you consider voting for Susie Bogdanowicz of Glass Hammer as BEST FEMALE VOCALIST.  I’ve been praising her vocals for well over a decade now, and I find that she simply gets better and better, though I did not think this possible when I first heard her voice.  Her lead vocals on this year’s VALKYRIE by Glass Hammer are nothing less than astounding.  Indeed, I consider her the single best voice in all of rock (in every form) today.

In case you’re in doubt, however, I’ll let you decide for yourself.  Here she is, singing a prog classic.

Dare I note, she’s even better than the original vocalist!  Heresy, I know.  Still, proof as well that Bogdanowicz deserves best female prog vocalist of 2016.

Thanks!  Yours, Brad

Exclusive Interview with Glass Hammer: VALKYRIE, The Best of 2016

On By bradbirzerIn progressive rock1 Comment

 

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Glass Hammer’s Latest, VALKYRIE–2016’s best album.

From the beginning of this, let me [Brad] note that I think that VALKYRIE is not only Glass Hammer’s finest achievement, but it’s the best album of 2016, thus far.

Questions

PROGARCHY: Steve and Fred, after so many years of writing, recording, and producing, what motives you?  I ask this, because most bands go the other direction.  They start strong, and they lose it.  You, however, do just the opposite.  You started very strong, and you just keep getting better.  Why, how?  What’s your secret?

Fred: Luck, perhaps?  It may have a little to do with the fact we’re easily distracted and move from one thing to the next like butterflies so we never have a chance to get too stale.  We are always interested in trying something different.  I think in this case we benefit from having little bits of stuff fly by on the wind and stick to us- post rock, ambient video game music; things we don’t necessarily know well enough to emulate too specifically, but that influence what we’re doing at any given time.  The other thing is surrounding ourselves with the right people and I think that has a lot to do with the new album working out as well as it has.

Steve: We’re driven and we just don’t stop. Momentum is important. We have awesome bandmates who invest themselves into our vision and a support team that keeps everything behind the scenes running smoothly. I’m with Fred on the butterfly theory. There are a million things I’d like to try with Glass Hammer. We’ll never get to the end of my list or Fred’s.

***

PROGARCHY: What do you think Glass Hammer means as a band, a concept, a project?  Where do you see Valkyrie in your personal history, and where do you see it in the long tradition of rock and prog?

Fred: I don’t know what it means.  I feel like I have to leave those questions to the people on the outside looking in; people that have an objective view of it all.  My perspective is kind of mundane.  For me Glass Hammer is an outlet for the music I write and Valkyrie is the latest work we’ve done and that’s it.  Time will tell us where Valkyrie fits in the history of the band and of prog in general.  I have high hopes though that it will be remembered as an important album in our catalog but it’s not my call.

Steve: For me, Glass Hammer satisfies the need to create and share the work. We’re a musical expression of a world-view as well, and I guess I’ve driven that idea. Valkyrie is or was quite personal. The story of the soldier and the girl started as a way for me to deal with trauma from my own experience. The hope being, that as I wrote it I could build the story toward a hopeful ending, and thus, find answers to my own dilemma. What happened was that I realized how insignificant my experience was when compared to others. It helped me mend. My Valkyrie has already arrived and guided me home so to speak. What happened to me was no battlefield experience and we need to confess that unless we’ve actually been in that situation there is no way we could possibly be able to relate to those who have, or even write music about it. I can’t reduce that sort of horror into music or lyrics. Still, trauma takes many forms in many lives. I just hope Valkyrie helps others, and especially encourages family and friends of trauma survivors. Survivors don’t make it home without help. As for Valkyrie’s place in history I can’t say. We just hope everyone enjoys it and that it has as much or more impact as other important albums in our back catalog.

Continue reading “Exclusive Interview with Glass Hammer: VALKYRIE, The Best of 2016” →

Susie Bogdanowicz Live Today: 3PM EST

On By bradbirzerIn progressive rockLeave a comment

Make sure you check out the live feed this afternoon with the ever amazing, incredibly-talented, and equally kind and personable Susie Bogdanowicz of Glass Hammer, this afternoon at 3pm EST.

The live feed will be available on Glass Hammer’s main Facebook page.  This should be the link (apologies if not!): https://www.facebook.com/glasshammerband/?fref=ts

Anyway, don’t pass up this chance to talk with the best voice in rock.

 

VALKYRIE: A Supreme Achievement

On By bradbirzerIn progressive rock3 Comments

VALKYRIE is an astounding achievement by any measure.  It’s not only the best album of 2016, but it’s one of the best albums of the rock era, a relentless drive toward poetic and tonal excellence.  Glass Hammer is a band that never stops challenging itself, and it never fails to succeed.

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Susie Bogdanowicz, the Best Voice in Rock.

This is, by far, Glass Hammer’s best album.  Amazingly so!  In fact, it’s the perfect, but more intense, sibling of LEX REX, INCONSOLABLE SECRET, and PERILOUS.

Continue reading “VALKYRIE: A Supreme Achievement” →