Customer Reviews

Culture Of Ascent

5 star:		(7)
4 star:		(3)
3 star:		(6)
2 star:		(1)
1 star:		(0)

 

 

I've never been big a fan of this prog band from Tennessee, but they sure are popular in prog circles. I've always critisized them in the past for being milktoast - not ballsy enough, too artsy-fartsy, lazy writing - steller musicianship though, at least one good song per album anyway. Kind of a souped-up Manheim Steamroller.

This new one is different. They have a couple of new members, Carl Groves of the band Salem Hill, who in my opinion is a much, much better writer of music and lyrics, and guitarist David Wallimann, who provides an edgier guitar sound. The songs on this new GH album, Culture Of Ascent, have bite, but still retain the air of symphonic prog. Not to say that GH sucked before, but they were a band patterned after the ELP side of prog (and I have little use for ELP). With this new album they have a more modern sound...well...as modern as this style of music gets anyway.

A few caveats - they touted this new one for months saying Jon Anderson was appearing on it...and he does, except he only provides "vocalizations" , not real vocals, so in my estimation, its like getting to second base on a date, over top of the winter coat. So anyone buying this CD thinking Anderson plays a major role on it will be disappointed. And while I appreciate the edge that Wallimann brings to this band, his soloing came acrossed a tad misplaced at times. The solos could have been thought out a bit better.

Carl Grove's touch is all over this one. I think the writing has improved and the compositions are stronger than on other GH albums. Perhaps GH is the prog outlet Groves has been looking for - fans of Salem Hill might want to take note of this new GH album, as its the prog album SH fans always wanted Carl Groves to make.

I like this rendition of Glass Hammer. No, this won't convert too many people already opposed to symphonic prog. The guitar play is meatier, but this isn't by any stroke a metallish sound; its still pretty much a keyboard affair. Sounding like a prog rock album, and not a Windham Hill album, it seems that someone finally lit a fire under GH for this new one.

Where do you go from up? You ascend of course...

Glass Hammer is the best modern progressive rock band, and if it weren't for the existance of Gentle Giant, I'd put them solidly in the running for Best Progressive Rock Band Ever (sorry, Yes).

Other reviewers have hit several points: the more "metal" edged guitars, not enough Susie, repeated listenings, VERY hard to top "The Inconsolable Secret" et al. I think all these are all valid points, but my impression on one listening (so far) is that this is yet another darn fine effort from Glass Hammer. And now for the unavoidable prog band comparisons...

I find the harder edged guitar work more "Kansas" than "Dream Theater". It may be a little harsher than we're used to, but it works well in this work. If "The Inconsolable Secret" is Glass Hammer's "Close to the Edge", "Culture of Ascent" is their "Going For The One" (Awaken is perhaps my second favorite Yes song, so this is also a Good Thing). The vocals are fine throughout and Jon Anderson is always a delight to listen to, but Steve and Fred if you're reading this, more Susie B. would definitely be a Good Thing!

All that being said, Glass Hammer is not Yes, Kansas, ELP, or Gentle Giant. They are a fantastic band in their own right and their music has yet to fail to be anything less than uplifting. "Culture of Ascent" is no exception. A single listen in the old Grados has me sitting here with a big ear-to-ear grin; this is absolutely delightful music! It is a different and somewhat exotic flavor from their past work, but I'm looking forward to repeated listenings and digesting "Culture of Ascent" fully in the near future.

All in all, if you like progressive rock or Glass Hammer, you will like this album. It is definitely worth adding to your collection.

This CD has an absolutely breath-taking cover of Yes' South Side of the Sky, and Jon Anderson himself adds a small intro vocal. The rest of the CD is okay. There are a few good, extended prog riffs scattered here and there, but there are no other tracks that feature the female vocals heard on the Yes cover. Too bad, she is a great singer.

"Culture of Ascent" is Glass Hammer's 10th album, which was released October 23rd, 2007. On this album, Glass Hammer appears to be a band which isn't struggling to find their own identity, but one which is struggling to take on the identity of another band; specifically they appear to want to be Yes. It is more than their choice to cover "South Side of the Sky", or to have guest vocalist Jon Anderson provide some backing vocal work. It is even more than having Roger Dean design their logo. On many of their pieces there appears to be an attempt to recapture the Yes sound from the 70s. Not that Yes from the 70s isn't great music, but this is supposed to be progressive music, not regressive.

The album opens with the aforementioned "South Side of the Sky" which is a decent cover, but doesn't offer anything new or unique to the piece. Susie Bogdanowicz vocals are pleasant, but I don't find her voice strong enough, though it is good to hear Jon Anderson adding some vocalizations to the overall work. The next piece is "Sun Song" which starts out with a different sound, but takes on Yes overtones late in the piece. The lyrics are rather weak, and it is rather unexceptional. "Life by Light" is the most similar to a Yes song other than the cover, partially due to Jon Anderson adding some vocal work here as well. Once again though, the result is so-so. "Ember Without Name" is my favorite piece from the album. It does suffer from some up and down moments, but overall there is a lot more upside than down. "Into Thin Air" is the longest piece on the album, but never caught my ear as far as offering anything special. "Rest" also suffers from never really going anywhere, which is too bad considering there is some nice string work.

Overall, I found the compositions and the lyrics to be fairly weak. There are some nice moments in each piece, but they do not sustain it throughout the entire work. "South Side of the Sky" is not surprisingly the strongest work, but as far as the original pieces go I can easily place "Ember Without Name" as the one which shows the most potential. I do like the use of strings on the album, and The Adonia String Trio is a definite plus for the album. I found the vocals to be uninteresting for the most part, and an area where they need to improve, either through bringing in another lead singer or through the development of their vocalists. The best part of the album is the instrumentation and the solos, as it is then when the group really shines and it becomes clear why this group has a significant fan base.

The group consists of Steve Babb (bass guitar, pipe organ, Taurus pedals, the Free Note, associated percussion, mellotron, piano, harp, loops and programming, mini-Moog, backing vocals), Fred Schendel (Nord electro 2, Nord lead 2, piano, Bela D media D-synth, organs, electric piano, mellotron, additional synths, loops and rogramming, acoustic guitar, string arrangements, backing vocals), David Wallmann (guitars), Carl Groves (lead and backing vocals), Matt Mendians (drums), Susie Bogdanowicz (lead and backing vocals). There is also The Adonia String Trio which consists of Rebecca James (violin), Susan Whitacre (viola), and Rachel Beckham (cello). There are several guests as well including Jon Anderson (vocalizations on "South Side of the Sky" and "Life by Light"), Eric Parker (acoustic guitar on "Life by Light"), Robert Streets (backing vocals and `Eden' solo on "Into Thin Air"), Sarah Snyder (backing vocals on "Into Thin Air"), and Haley McGuire (backing vocals on "Sun Song" and "Into Thin Air").

This is a very special release for me personally, being that Glass Hammer's founders Steve Babb and Fred Schendel live in my hometown and we have become friends and I've been able to help with one of their concerts and was priviledged to hear this release about a month ago at their studio. It is fortunate that I can be totally objective and honest at the same time about this masterpiece. GH has re-invented themselves slightly over the last few releases. 2005's "The Inconsolable Secret" featured one disc of more conventional GH synth laden symphonic prog, and the other was a masterwork(IMO)of more classically and soundtrack influenced prog with some incredible vocals from their many female singers. The early buzz on this release was that it would be edgier, harder, and even more YES influenced(with the guest vocalizations from Jon Anderson). All of this is true and much more. They've done more than re-invent their sound, they've perfected the best symphonic and melodice elements of their sound and added a more dense modern sound to it. The disc(which lyrically centers around mountain climbing-physically and spiritually)opens appropriately with a totally innovative rendition of YES' "South Side of the Sky".Susie Bogdanawicz handles the vocals masterfully as it combines loops,sitar, and shredding guitar work(from newcomer David Walliman)with the tradional piano solo and middle vocal section that rivals if not surpasses the original.This song segues masterfully into "Sun Song"-one of my favs, that starts with a modern synth sound, great harmony vocals from new Lead singer Carl Groves and Susie B., and has some incredibly fast but tasty shredding from Mr. Walliman."Life by Light" is the most YES sounding song due mostly to Jon Anderson's colorful vocalizations throughout(He also contributes to SSOTS)and begins with a pitch perfect accapella verse from Carl Groves. This is a little more dense than most GH fare and will have to grow on you a little, but its still a powerful tune. The next cut "Ember without name" is the show-stopper.Beginning and ending rocking harder than any previous GH song, this one has everything, plus the kitchen sink!!!!Next, is the epic,"Into Thin Air" based on the same-titled book by Jon Krakauer's account of his ascent on Mt. Everest, Here Mr. Babb weaves this story with the spiritual implications of climbing heights in a masterful way that crescendos musically and lyrically at its ending.The disc ends with the beautiful and haunting "Rest" with some of the most meaningful lyrics ever penned by Carl Groves(also with Salem Hill).It is a breathtaking ending to a breathtaking and groundbreaking album. This is where this indie prog band from Tennessee(who averages 100,000 or less per release)takes off and achieves the artistic and commercial success they deserve!

I was lucky enough to get a preview of this release. I was so impressed I was unable to sum the work up in any words at the time. After listening to it quite a few times, I find myself humming parts of it at work...lol. The first vocal you hear on the CD is guest Jon Anderson who does some great vocalizations. Although there is no big story along the way, it is based upon the book Into Thin Air. As you listen, you find yourself travelling as those that were hiking along the mountains. There is a lot of emotion in the music. Everyone in the band takes their turn on standing out there, taking those steps forward, then blending in with the other members. Lyrically, it is very powerful. This band has evolved and coalesced into an incredible tight band. Carl Groves and Susie Bogdanowicz certainly does an outstanding job with the vocals. David Walliman gets his time to shred, but also does a great job with the melodies. Matt Mendians tears the drums up, and of course Steve Babb and Fred Schendel are genius in putting together the Epics. With the continued use of the Adonia String Trio, this has become a powerful band! Ember Without Name has an incredible beginning with Fred Schendel everywhere on the keyboards working up to a crescendo that sends you on the journey.

Rest, the last song, is very strong. The lyrics are very powerful and Carl Groves belts them out with the proper tone and feeling.

This release is a must for any Glass Hammer fan. If you enjoy great music and lyrics, don't let this one pass you by.

Culture of ascent has it all - an album that is full intelligence and reaching for that pinnacle. The cover of Yes' "South side of the sky" immediately grabs ones attention as the albums standout track - but give the rest of the album time to grow and you will view it as a classic. Its a slow burner, but give it a few istens and you won't be disappointed.

This record by Glasshammer has a lot to live up to given its immediate predecessor, the SUPERB Inconsolable Secret! And in that comparison, I find this new release somewhat wanting! The sound quality and musicianship are first rate, but the songs themselves are somewhat pedestrian. It is beyond me why so many good prog bands insist on hardening their sound (the 'dream theaterization' of prog), and to my ear that is part of the problem here. David Wallimann may be a gifted guitarist, but does not seem a great fit for GH. I also find myself really missing the vocals of Walter Moore. Carl Groves, his (permanent?) replacement sounds a bit flat to me. Prog records often grow on me over time, so I will give this record multiple listenings, but my initial reaction is one of dissapointment (incidentally, the companion disc 'The Compilations' is terrific - haven't been able to put it down!).

Strap on your climbing gear folks and prepare to join Chattanooga Tennessee's Glass Hammer on a scintillating musical ascension on Culture of Ascent. Steve Babb and Fred Schendel have assembled an expedition crew that brings a wealth of musical strengths and tools to the already formidable Glass Hammer arsenal of progressive rock sounds on their tenth(!) release. Joining GH founders & multi-instrumentalists Babb and Schendel on this scenic adventure are Carl Groves of (highly recommended) prog-band Salem Hill, new member (and aptly named) guitarist David "Shreddy" Wallimann, vocalist Susie Bogdanowicz, drummer Matt Mendians, the Adonai String Trio, and other returning friends. Oh, and the cherry on the top of the mountain are "vocalizations" by Yes lead-man Jon Anderson on the excellent lead-off cover of the Yes classic "South Side of the Sky," and "Life by Light." The end result of this titanic team-up of talent is a powerful, dynamic work of progressive rock that is a mighty leap upward for Glass Hammer.

While Ascent features the trademark sounds (deep, rich bass and keyboards, synths, and moogs galore) Glass Hammer is known for, the band opted to add some additional weapons to their already impressive sonic arsenal. The opening version of "South Side of the Sky" adds layers of techno/hip-hip rhythmic coating--a technique also used nicely in the intro to "Sun Song". The Adonai String Trio contributes memorable orchestral touches, adding beauty and depth to Ascent. Matt Mendians contributes fine proggy/near metallic drumming that reminiscent of Keith Moon at times (high praise indeed, but the closest comparison I can think of). Mendian's timing is unique, and his style veers wildly up the sonic heights of Ascent. "Shreddy" Wallimann adds virtuoso guitar prowess to the mix. The vocals are top-notch as well: new member Carl Groves contributes solid melodic vocal chops, Susie Bogdanowicz conveys her strongest GH performance yet on "South Side of the Sky," and the uniquely Glass-Hammer-ish multi-layered vox are in luscious abundance. My only personnel complaint: more Babb and Schendel vocals!

Wrapped in a stark cover black and white depicting a lonely seeker, Culture of Ascent is a concept album about the risky business of mountain climbing--scaling the heights in exotic and forbidding landscapes. There is a spiritual component present as well--the seeker climbs in search answers to the deep questions of life, and there is an Answer. This theme is wrapped intricately in six song movements that enfold the lyrics like a Himalayan snowstorm. Beauty, adventure, longing and fulfillment are all touched on as the listener journeys through the sonic landscapes created by Glass Hammer. Rare is the rock album that creates a sense of wonder and beauty. Glass Hammer manages to do just that on Culture of Ascent.

Listen with headphones.

I had such high expectations listening to the sound clips from the album on Glass Hammer's home page, but after buying it and listening to it a couple of times I'm a tad disappointed. There are a couple of reasons for this, the main being that the songs don't really touch me. Most of them remind me of listening to Parallells or Tales from Topographic Oceans by Yes, I'm supposed to be awed but end up being a bit bored. I actually think I prefer The Inconsolable Secret to this, which I really think has it's weaknesses. And it certainly doesn't match Lex Rex. "Life by Light" is quite good, but Carl Groves' vocals does nothing for me. I wish they would bring back Walter Moore, he had a voice with a personality which I find Groves lack, and fitted Glass Hammer's music perfectly. And when you have such a gifted singer as Susie Bogdanovicz in your band, why not use her frequently? And I'm not quite sure why they have brought Jon Anderson in, his contribution doesn't do much one way or the other.

I also feared the new guitar player Walliman would be a disaster after his performance on the live DVD Live at Belmont, which utterly stank IMO. Fortunately he doesn't play to many solos on the cd, but the ones he plays bore the hell out of me, not an interesting melody line in sight, and as soon as he has fiddled about a bit, the John Petrucci wanna-be in him steps in. (Oh god, I wish guitar players would stop watching Petrucci's instruction videos, they all end up sounding like him, never considering if that style fits the music they're playing. And none of them ever match him anyway).

Ok, why 3 stars then? Because Schendel/Babb will never mess up an album completely, their songwriting skills are just too good for that. From time to time a wonderful little melody pops up which makes me smile. And I love the strings on the album, reminds me of Kansas. As always the parts with multiple voices are great. So 3 stars for now. But with prog albums you never know, it might grow on me!