AT THE GATE

GLASS HAMMER was founded in 1992 working in the symphonic prog niche with a story of Tolkien with a medieval atmosphere, would the name have a link? Sound à la YES as a priority, then on keyboard groups including CAMEL to become a symphonic prog reference. The last of the more metallic 'Skallagrim' trilogy, heavy for the finale with the sacrifice of said hero, but shhhh listen to the music, read the story, the chronicle.

"The Years Roll By" opens symphonically on a good Drama-era YES, voice ogling over it and on MOSTLY AUTUMN; melody with prominent bass by Steve who also takes care of the solemn organs giving the warm side, like some notes of the majestic 'Bal des Lazes'. Hannah declines her voice with emotion and lets Fred break out a solo that marks the sound of the group. "Savage" with a half acoustic half heavy intro riff bringing a heavy groovy tune; prog metal title that has been driving the nail for 3 albums, a little on the CRANBERRIES for the voice and the groove, haunting and moaning voice in support; small Japanese break before leaving on a solo organ and very fat keyboards to stand out a little from the vintage 70's sound. "North Of North" for the instrumental title of the album precisely bringing together the 70s with the more electronic 2000s; TANGERINE DREAM atmosphere see new-wave intro a while before the Hammond solo that a YES, DEEP PURPLE, BOSTON could have done lately; it starts again with this progressive ambient atmosphere that I love, bewitching. "All Alone" arrives, riff metallic enough to sound like another band; tortured KING CRIMSON, KING'X, ALICE IN CHAINS; Hannah breathes a nervous tempo quickly helped by Fred, her singular between metal and blues; title effectively showing the duality of the album, final warm bluesy solo. "All For Love" tumbles out as a twirling intro; MAGELLAN, MAGENTA, rock metal which is channeled for a time, Hannah raises her voice like the instruments then modulates it with choirs; sound becomes sticky, annoying, haunting with Hannah screaming; Vintage keyboard solo then Reese's guitar from Arabian Nights for a progressive drift that becomes enjoyable and catchy.

"Snowblind Girl" continues on the same pace, the same metallic Aaron's pad wish; it may confuse fans, but it's Steve's choice; 60's sound on the British pop tune, voice à la Chrissie HYNDE, solo whirling suddenly; the desired amalgam avoids letting go on melodic prog metal, here it's prog metal with layers and drawers with successive breaks, like I hear an air of 'RED' that's to say. Chaotic metal break like sheet music that makes its own progressive music before returning to Hannah with angelic sweetness; final again 'maelstro-orgasmic'. "Standing At The Gate" with the return of Jon DAVISON on vocals for a Yessian title from the years 2025, Hannah draws her voice too much in my opinion and it is the organ that rounds off the musical angles; the recessed synths show off the more progressive GLASS HAMMER sound as well as the final crystal-clear guitar solo. "In The Shadows/It's Love" in two glued parts? for the title of the album, return of the sound of the group, majestic title with piano intro reminding me of LAZULI or ESTHESIS, yes I also listen to French prog; solemn tone with divine Hannah here, everything is said; on the edge of atmospheric, dreamlike and crossover prog, a bewitching melody as a dressing to previous titles or simply magnifying the GLASS HAMMER sound; ah 3'45'' and the magic moment, this redundant, crystalline piano, that's it I have chills; peace of ears, when Skallagrim is faced with his fate; Steve with his organ-YES launches a magnificent, divine moment trying to show the gesture of his hero who is going to sacrifice himself for his beauty; tune à la MOSTLY AUTUMN because I like that band too; Break à la VANGELIS now, divine I tell you; guitar break à la May from QUEEN, I'm melting, good YES it's normal like MAGELLAN again I feel like I'm listening to musical fireworks and a coda of 'Dreaming City' now; solemn break for a final crescendo and yet another aerial solo, I'm putting on the replay.

GLASS HAMMER hits hard with his hammer, yes I wanted to; a booklet telling the story of the hero, some titles at 10/10 like I think someone who notes this way, the other metallic ones to confuse and/or show that prog is not confined to a single genre; contemporary, vintage by reminiscences, current by the agreements found, avant- garde in fact. It was only in 2016 that I started following them again after a first try with their 2006 live, like what over time. This 3rd part therefore closes the story of the thief with a screaming, desperate sword, this album therefore becomes a contender in my top for the emotion released. Ah if all the titles were of the caliber of the last, I will simply have my top 1 of the year.