Glass Hammer are one of the most prolific and beloved bands in modern American symphonic prog — a Tennessee group who have spent more than three decades crafting epic, literary concept albums in the grand tradition of Yes and ELP. Built around the songwriting partnership of Steve Babb and Fred Schendel, and famous for a revolving cast of gifted singers, they have quietly become one of the most reliable names in the genre, with a catalogue as ambitious as it is vast.

The short version

Formed in Chattanooga, Tennessee in 1992, Glass Hammer play narrative-driven symphonic prog — lush, keyboard-rich concept albums steeped in fantasy and literature. Across a deep catalogue from “Journey of the Dunadan” (1993) and the acclaimed “Chronometree” (2000) to the Jon Davison-fronted “If” (2010), they have kept the spirit of 1970s symphonic rock vividly alive. Led by founders Steve Babb and Fred Schendel, they remain a cornerstone of American prog.

Chattanooga: Babb and Schendel

Glass Hammer were formed in 1992 by multi-instrumentalists Steve Babb and Fred Schendel, who set out to record an ambitious concept album based on the story of Aragorn from Tolkien’s “The Lord of the Rings”. That debut, “Journey of the Dunadan” (1993), surprised them by selling thousands of copies through mail order and the early internet — enough to convince them Glass Hammer was worth pursuing. Working from their own Sound Resources studio in Chattanooga, where they have recorded ever since, Babb and Schendel built a band, and a sound, entirely on their own terms.

Narrative-driven symphonic prog

Glass Hammer’s music looks back lovingly to the golden age of progressive rock — the symphonic grandeur of Yes, the keyboard fireworks of Emerson, Lake & Palmer, the pastoral beauty of Genesis and Camel. Built on Steve Babb’s distinctive bass and Fred Schendel’s rich, vintage keyboards — Hammond organ above all — their albums are typically sweeping concept works, anchored by epic-length songs and inspired by their love of literature: Tolkien, C. S. Lewis, medieval myth and more. Over the years their sound has grown heavier and more varied, but that core of lush, narrative-driven symphonic prog has never wavered.

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A revolving door of voices

While Steve Babb and Fred Schendel have always been the constant heart of Glass Hammer, the band has become almost as well known for its ever-changing roster of singers. Over the decades, vocalists including Michelle Young, Walter Moore, the fan-favourite Susie Bogdanowicz and Carl Groves have all fronted the group, often trading male and female leads. Most famously, singer Jon Davison joined in 2009 and recorded three albums with the band before being recruited as the lead vocalist of Yes itself — and Yes’s own Jon Anderson returned the connection by guesting on Glass Hammer’s “Culture of Ascent”. Few bands have so many voices woven through their story.

From Journey of the Dunadan to Chronomonaut

After the Tolkien-inspired debut and the C. S. Lewis-themed “Perelandra” (1995), the witty concept album “Chronometree” (2000) and the acclaimed “Lex Rex” (2002) marked a creative rise, and the ambitious double album “The Inconsolable Secret” (2005) and “Culture of Ascent” (2007) showed their reach. The arrival of Jon Davison brought a luminous, Yes-like run in “If” (2010), “Cor Cordium” (2011) and “Perilous” (2012), before Susie Bogdanowicz returned to the fore on the concept album “Valkyrie” (2016) and the time-travelling “Chronomonaut” (2018).

Album by album

Twelve albums of lush, literary, narrative-driven symphonic prog. Tap any title for its guide.

Where to start

Begin with “The Inconsolable Secret” (2005) or “If” (2010) — two of their most acclaimed and ambitious albums, and perfect showcases of their symphonic scope. From there, the clever “Chronometree” (2000) and “Lex Rex” (2002) capture the band hitting their stride, while “Culture of Ascent” (2007) is essential for its Yes connections. A handful of albums that open the door to a deep and rewarding catalogue.

Why they still matter

Glass Hammer matter as one of the most dedicated and productive bands in modern progressive rock — a self-made group who built a thriving, independent career out of sheer love for the music, and who have kept the symphonic prog tradition alive across more than twenty albums. Their link to Yes, through Jon Davison, only underlines their standing in the genre, but it is the consistency and ambition of their own work that truly sets them apart. For anyone who loves classic symphonic prog made with modern care, Glass Hammer are essential listening.

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