COR CORDIUM

OK, now that we've gotten that comparison out of the way... Glass Hammer's 2011 release "Cor Cordium" (latin for 'Heart of Hearts') is an excellent and necessary addition to the collection of any lover of classic Symphonic Prog/Art Rock.

It seems worth reviewing in light of their previous release "If" as it has the same musician line-up, same musical direction, and frankly, could almost have been disc 2 of that 2009 release. (For context, IMO "If" is one of the best Symph Prog releases since the genre's halcyon days of the 70s).

I say "could almost have been disc 2" because, while musically there are obvious similarities, there are also new and welcome ventures in musicianship and song elements. Guitar work gets both a bit more muscle (especially on "Nothing Box" and "She, A Lonely Tower") and and bit more finesse in places (some nice, though short, acoustic/classical parts, and I love the minimalism during the Hammond stops in "Salvation Station" ~3:50 and 3:58). Keys also get stretched both ways, with some beautiful piano-forte work on the intro of "One Heart" and in "She, A Lonely Tower", but also pushing some Emerson-esque bombast throughout the album. I love Fred's bass work, and while I still feel it gets somewhat lost in all the production and symphonia, there are places here it shines in all its foundational glory. Hardly least, Jon's vocals, while wonderfully soaring as they're apt to be, have found a new intimacy as on his special piece, "Dear Daddy".

Musically, I love the mash-ups (polyphony?) and interplay, especially on "She, A Lonely Tower" and "One Heart" (my favorite cut on the album). One of the things I had to learn to not let frustrate me with "If" is even more prominent here on "Cor Cordium" -- Glass Hammer does not long dwell on musical themes. So while Alan may jump into an engaging riff (e.g., "Nothing Box" ~5:10), or Jon may offer a gorgeous vocal refrain (e.g., intro to "To Someone"), don't get too comfortable with them! And scarce on "Cor" are the singable refrains as per "If the Stars" and "If the Sun". So enjoy the many, varied, great, but fleeting motifs you discover on "Cor Cordium", they don't stick around too long. (But that's ok-- sort of like the precious things in life-- a beautiful sunset, or a child's innocent years.) New on "Cor" are some welcome funk-style passages. But I think the most prominent elemental addition on this album is pure, unadulterated prog-folk. That's right, acoustic strumming with layered harmony are front and center in several songs, once again "Dear Daddy" being foremost.

Speaking of "Dear Daddy", I think the one stark departure that Cor Cordium takes from "If" is with the songs' lyrical themes. While "If" turned our fantastical attentions outward to the sky, stars and sun, and teased us with mis-perception of the Ziddle's three-sided dance, "Cor" takes us inward, delving way deep on introspection into some of life's harsher realities. The opening track, "Nothing Box", explores the seeming comforts found in isolationism. "Salvation Station" offers a cynical perspective on religious broadcasting (the lines "Her baby's dead" and "It's the funniest thing" in near proximity will always jar me). Even the epic track "To Someone", while not leaving us stuck there, alludes to the cruelties of schoolyard bullying and trash-picking, gutter-bathing city beggars.

But the starkest of all these heavy themes is found on cut "Dear Daddy", a heart-on-your-sleeve, auto-biographical memoir of Jonny's troubled relationship with his dad. On my first spin of "Cor Cordium", I thought, 'one of these things is not like the others'. I did not want to like this song. Personally, I am especially endeared to prog-folk/folk rock music, and since this cut fits into that genre quite well, it wasn't the music or song structure that bothered me. But thematically, I fought with it. Should my prog music be so straightforwardly autobiographical, introspective, and deep? True confession-- I skipped the track second time through. Then I re-listened, and-- got me, dude. Now, Bowie, there are two damned songs that can make me break down and cry. While I love Cor through and through, "Dear Daddy" will define this album for me. Having some knowledge of these things, I'm going to venture that the father-son estrangement addressed in "Dear Daddy" touches on a subject with which many, many listeners can relate. Check out the interplay between violin, viola, and keys, flirting with dissonance, right after the line, "Did you ever notice me?" (gasp.) I don't think I've ever done this before in a review, but I'll end this digression with a prayer, to turn the hearts of the fathers back to the children.

In closing, to all lovers of sometimes sonic/sometimes serene, sometimes ethereal/sometimes intimate classic Symphonic Prog, don't miss this offering from Glass Hammer. It's quite a heartful!

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