Chattanooga, TN proggers Glass Hammer are set to release the second installment of the Skallagrim Trilogy: Into the Breach. It is an eagerly awaited work, and I am happy to report that it exceeds expectations. If you thought last year’s Dreaming City was a departure from their typical sound, Into the Breach further develops their new, heavier approach to their music.
Besides the obvious elements like super heavy, crunchy guitars, new lead vocalist Hannah Pryor rocks like a …. well, you can fill in the blank. Suffice it to say that Ms. Pryor can belt out a song with the best of them, while maintaining a purity of tone that is never grating.
The lyrics continue the adventures of the jewel thief Skallagrim, this time focusing on his mercenary adventuring as he battles to lift a curse and restore his memory. He is accompanied by his comrade in arms, Hartbert, and they are financed by a mysterious powerbroker, Erling. However, you don’t need to know the story to enjoy the music.
And what glorious music Into the Breach is! It begins with the short acoustic ballad, “He’s Got A Girl”, that segues directly into the roaring “Anthem to Andorath”. This one took my breath away when I first heard it (check out the official video below). Pryor’s vocals intertwine effortlessly with Babb’s and Schendel’s to an exhilarating climax.
The musical pummeling doesn’t let up with “Sellsword” which opens with the dirtiest guitar riff Glass Hammer has ever put to tape. Maybe they’re unleashing pandemic-spawned frustrations, but Steve Babb, Fred Schendel, and Aaron Raulston have never played with this much ferocity.
“Steel” alternates between crushing riffs and bouncy flights of Rundgrenesque popcraft. Pryor’s powerful vocals are the glue that hold all the disparate parts together.
The next two tracks, “Moon Pool” and “The Dark” are instrumentals. “Moon Pool” recalls classic Tangerine Dream, continuing the trend Glass Hammer began in Dreaming City.
“The Ogre of Archon” is another winning hard rock song, which goes directly into the blistering title track. There is an excellent section where Babb’s bass and Schendel’s organ play off of each other as Reese Boyd (or Brian Brewer, it’s not credited) plays terrific solos worthy of Alex Lifeson.
To my mind, the next three songs form a mini-trilogy. “The Forlorn Hope” is one of the best songs on the album, and it offers a bit of a respite from the heavy atmosphere of the rest of the album. “The Writing On The Wall” combines Crimsonesque melodic runs with some more spacey sections that allow Babb’s always inventive bass playing to shine. “Hyperborea” is an almost ten-minute long tour de force that is the finest track on the album, and one of the best songs Glass Hammer has ever done. It is a loving tribute to classic Rush, which in true Glass Hammer fashion, deftly pays their respects without descending into mere imitation.
The album closes with the brief “Bright Sword” which sets the scene for the conclusion of the Skallagrim Trilogy, and leaves the listener begging for more. Into the Breach clocks in at a hefty 70+ minutes, but I’ve listened to it in its entirety a dozen times, and it never feels labored or long. Every note counts, and every second is an aural pleasure.
After nearly 30 years and more than 20 albums, most artists would be exhausted. With Into the Breach, Glass Hammer are playing as if someone has lit a fire under them; this music is some of the most passionate they’ve ever put together. Their ability to constantly challenge themselves and revitalize their sound makes them the most fascinating and satisfying rock band in America. Meanwhile, Skallagrim – Into the Breach consolidates the great leap forward Glass Hammer took with Dreaming City. It is the heaviest yet most graceful music they have recorded in their long career. It is an unalloyed triumph that leaves the listener eagerly awaiting Chapter Three.