Glass Hammer (Steve Babb and Fred Schendel)

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Interview with Steve Babb and Fred Schendel

by

Peter Funke

Two of the dinos of the progrockcosmos – Glass Hammer and DPRP (Peter Funke) – met in our virtual DPRP-Lounge and here you can join: read the full exclusive story. Just a few months after the release of the by now top-album “The Breaking of the World” you will get to know why GH wants to tie two of our reviewers to the stake (luckily they didn’t do it at last) and you will get some insight views of GH. And of course some very exciting news are waiting. Here is the great stuff for you:

DPRP: We appreciate taking your time for this interview. We are by now 20 years in the web and many of our readers have an affinity to the so-called classic progressive rock. Glass Hammer is one of the leading Bands in this segment for now over twenty years; indeed, you are older than DPRP and as well still alive. How would you describe “progressive rock”?

Fred: I don’t really.  It’s a rhetorical exercise for those that enjoy engaging in that sort of thing.  The debate over “progressive” as a defined genre and “progressive” as an adjective rages on but we just do what it is that we do.  I would say for me personally it’s a genre defined by a specific era of classic rock that was embodied by bands like Yes, King Crimson and the like but that’s entirely subjective.

Steve: We like what we like and we call it what we call it. I love old-school progressive rock from the seventies and the term “progressive” certainly fit well at the time. That we still refer to music composed and performed in that original seventies style as “progressive” seems to irk some people. I just see it as a label that helps to describe a certain sound. It just meant (and still does to me) taking the basic form of rock and doing something more complex and more thought out. Rock, no matter what you do with it, still has limitations. If you stray too far from the roots, it just isn’t rock. And this has always been the key to me. It is more about the word “rock” than it is the word “progressive”.

DPRP: Can you explain, what the backbone, the soul of Glass Hammer is?

Fred: It’s rooted in making music for the sake of it and without need to worry about the demands of any market.  We do what we feel we want to do at any given time.  It tends to be uplifting for the most part, and not afraid to be rooted in musical and literary styles that are outmoded.

DPRP: Can you tell our readers, what you describe as typical elements of a Glass Hammer track?

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Fred: We have always had a reliance on keyboards to the forefront and that’s a constant, but beyond that we change stylistically quite a bit.  We go through periods where we try and stick to a reasonably typical song structure in terms of verses and choruses but a lot of what we’ve done is almost in a stream-of-consciousness style where that structure is completely ignored.  Most of our music has an underlying rock rhythm section but we’ve done projects where tracks are orchestral and none of the band instruments appear at all.  We always have different singers.  We feature different lyricists.  So I don’t know.

Steve: We are all over the map with sounds and styles. Any time I meet someone, say, here in the studio where we work, and they ask me what Glass Hammer sounds like, it is immediately obvious to me that I can’t play them any one song or any three songs that would capture the essence of who we are and what we do. It would be easier to describe typical elements of a Glass Hammer album than a Glass Hammer track. Even then, our albums are each unique to me. Yet anyone that hears a Glass Hammer song would know it is us. For the most part, we have a very distinct keyboard and bass guitar style. Fred and I always sound like Fred and I. Make sense?

DPRP: Yeah, so can you explain, why Glass Hammer sound more like Yes than Yes on the last few albums? 

Steve: I read that now and then, about Yes and Glass Hammer. I personally don’t hear it. Of course I’d say “IF” is the exception. Yes wasn’t recording at the time and we decided to have some fun with that sound by adding Jon Davison and a few moments here and there that evoked the Yes style. Since then, I’ll read reviews of certain songs I wrote or co-wrote on other albums that are “clearly influenced by Yes”, but the truth is those same songs are actually inspired by Camel, or Bjork, or even Radiohead. People hear what they want to hear. I do catch similarities now and then, and Yes were always one of my favorite bands. But I honestly haven’t heard a Yes album all the way through in over twenty years. That is probably a surprise to some, but it’s true. So to sum it up, I’ll concede “IF” in many ways resembles a Yes album that “might have been”. Beyond that, there are a hundred other influences at work in our music and hopefully all those influences produce something original at times. Here’s a very cool quote by one of my influences that has become a maxim for me as a writer. “Even in literature and art, no man who bothers about originality will ever be original: whereas if you simply try to tell the truth (without caring twopence how often it has been told before) you will, nine times out of ten, become original without ever having noticed it.” C.S. Lewis. Well, that’s the goal at least!

DPRP: Can you describe, how your tracks come to life?

steve aaron alan fred (1)Fred: It depends.  Many songs start out as demos or ideas by individual band members, usually me or Steve but more recently Kamran Shikoh, and then go on get fleshed out by everyone.  There were albums that were done almost entirely by Steve and myself; in that case it’s just a point in the evolution of the recording where we hear it start to really work.  Lately, we’ve been trying to do things as a band in the rehearsal room where we write and that’s where we hear when things are coming together.  Or not, as the case may be.

Steve: For me, I typically write at the keyboards with the bass next to me so that I can integrate both elements quickly. Usually I will work with a drum groove or a particular chord progression and see where it takes me. I throw away a lot of ideas. At some point a song begins to take shape and it becomes easier to finish out the arrangement. When it has reached some semblance of a complete idea or song I will play that to Fred and Kamran to see what they think. If they’re sold on the idea I let them run with it for a while. It becomes more democratic at that point.

DPRP: Vocals are an instrument of course, but additionally they transport the lyrics. Or maybe the other way round. Fans and reviewers are often more looking after the fact, if the voice is “fitting”. How would you describe your position in this conflict?

Fred: It’s a struggle, because any time you write words or a melody for someone else to sing there’s an issue of how they are really going to “sell it”.  Generally all our GH singers do their absolute best to sing what we give them with some conviction.  But usually you will get more emotion from a singer when they are singing something they conceptualized themselves, so we’re always walking a line between trying to get singers to write their own lyrics and melodies and being control freaks and writing the things that we want to hear.   Maybe a more direct answer is if you hear it on the album then we deemed the voice is fitting, so to speak.

Steve: I’m biased of course, but our singers generally fit the material really well. There are a few songs where we may have forced the wrong singer into the wrong song or melody – but the burden is on Fred and me, not them. Jon Davison certainly fit the song “If the Stars” like a glove. He and I both wrote the lyrics, so he was invested in the track. But then you really have to hear Carl Groves and Susie Bogdanowicz singing the same song on stage with us. Once you have heard that version a few times you will see they fit the song just as well. Glass Hammer has been blessed by wonderful singers and two composers (Fred and myself) that are willing to learn as we go in finding new and better ways to showcase their abilities. If you hear a vocal on a Glass Hammer song that doesn’t fit well – the composers and producers are to blame, not the singer.

DPRP: Oh yeah, we would like to get the opportunity to hear those versions!

 Steve & Fred: Wait and see…

DPRP: As you state yourself Glass Hammer albums are inspired lyrically by your love of literature (most notably Tolkien, C. S. Lewis and John Krakauer) and Babb’s love of Victorian prose and medieval mythology. What would you answer to somebody stating your music is good, voice and singing is cool, but never read any lyrics?

Fred: Well, they can enjoy it on whatever level they find appropriate.  If the lyrics are enjoyable and/or edifying for the listener, that’s great and we’re glad of it.  If not, I certainly hope they can ignore that and enjoy the music on another level.  There are plenty of bands where I tune out the lyrics.  It’s a bonus for people that enjoy what we’re trying to do there.  Steve is definitely the one that finds a lot of joy in writing a lyric and wants people to get something from them.  I just crank them out so the melody has something to hang on!

sm-Steve-Susie-credit-Karel-ZuiderveldSteve: Fred is one of my favorite lyricists – which is odd considering he doesn’t even enjoy writing them! With an album like “Perilous” for instance, it would be a pity if the lyrics weren’t incorporated into the listening experience. There is so much going on there. I understand the music is enjoyable without that, but what a shame. When a song or an album is telling a story lyrically, you should pay attention to the lyrics or you’re missing the boat. It would be akin (this may be a stretch) to only hearing the sound track to a movie but not watching it. What if you only admired a beautiful painting by viewing a black and white copy of it? You can admire the detail perhaps, but not the intent of the painter. We have been trained through the years by bad lyricists in pop and rock to ignore the possibility of poetry in lyrics. That’s how I see it. It’s a form of poetry to me. It’s precisely because of these bad lyricists that I try so hard to write something worth reading. And we really have to update Wikipedia somehow! I was into John Krakauer years ago, but only a couple of books way back in 2006-2007. I’m really into Viking sagas and Bronze Age historical-fiction of late. I read a lot of different types of books and authors and I read continually. A lot of what I read influences what I write. Tolkien, Lewis, Victorian prose….that still applies I guess. But that’s just scratching the surface.

DPRP: So don’t forget to update your own website as well. I would like to catch up this very interesting comparisons. People are half blind and are craving for arts, people need subtitles in the cinema because their ears aren’t that well and so on. Of course you don’t mean, your music is only for the healthy people; but you (Steve) are quite strong in your opinion, in a positive sense. Further I suppose you will have a lot of listeners beyond the native English speakers area – and there surely is a lack of understanding words and meanings. So you would say, they actually don’t know what GH is about? Can you think of a way helping them or underlining your intentions?

Steve: So many people enjoy us who probably never pay attention to the lyrics, and as music lovers they probably don’t need to know what GH is about. It really all depends on how many layers of the group they are willing to explore. For instance, not too many people noticed this and we never called attention to it. Read the track list for our album “Perilous” and you will see something very interesting if you pay close attention.

DPRP: Well, the result is a nice poem?

 Steve: Yeah, and it ties directly into the lyrics and the concept.

DPRP: That is a charming idea. Let’s talk about your actual release – The Breaking of The World Can you tell us something about your main intention, your main message you aim to transport with that album?

Fred: For me the idea was to have an album that was less demanding on a lot of levels; that worked without having to immerse oneself in it very deeply.  That’s actually a bit dangerous because some people want an experience where they have to really dig deep to “get” it.  If you want to it’s there but I think in many ways Breaking of the World is actually kind of fun and accessible, even though what underlying theme there is pretty dark.  But good grief, there’s a song about falling in love with an elevator.  That’s pretty frivolous.  The next one won’t be like that- it’s going to be deep, dense, and difficult.  Obtuse.

Steve: I hate to say it, but we needed to have fun and relax with an album and with our new drummer and new lineup. I only hate to say it because fans may expect loftier motives from us most of the time. For me the main message was simple. I wanted the listener to say, “OMG! These guys are freaking awesome! This sounds fantastic!” I want our fans to laugh where we’re laughing and cry where we’re crying and chill out where we are chilling out. They should groove to “Nothing Everything”, get creeped out by “Haunted” and wax poetical during “Mythopoeia”.

DPRP: Can you tell us about the writing/recording comparing to the recordings before?

Fred: One mandate we had was for the drums to sound better.  Our first album with Aaron Raulston I felt our energies were pulled elsewhere and, while it’s not bad, it didn’t have the drum sound we knew we can get.  So we really worked on that, and also getting a big but airy vocal mix.  On a production level I think it’s really quite good, while being a bit more modern than a lot of what we do.  The writing went fast- those songs kind of poured out in a 2 month period and didn’t require much difficult arrangement; even Third Floor would up being about 5 sections that strung together linearly in a rather logical fashion.  It wasn’t a difficult birth.  In an odd way that might even show in the final product; it doesn’t represent a lot of conflict in the process of making it.  Sometimes that’s good and sometimes it’s bad, it leads to a complacent sound.  In this case I feel it worked well.

DPRP: Can you describe, what you personally like (or dislike) on “ The Breaking of The World ”?

Fred: As I said I love the overall sound of the album.  I like the fact that it doesn’t take itself as seriously as some other albums we’ve done.  That has freed us up do get very serious indeed on whatever we do next.  I like the fact that we came up with songs in the 10 minute range that are dense with ideas but are easily consumed and they don’t wear out their welcome.  The album has a good flow end to end to me.  As for dislikes, I think we always hear room for things to improve after the fact but I keep that to myself.  I can listen to this album months after it’s been released, and that’s often not the case.

Steve: I love the bass tone we got on this album and the way the vocals were mixed. I love the drumming and the addition of more ideas by our guitarist. I also like the fact that three lyricists were involved. In my opinion Carl Groves is a fantastic lyricist. I immediately had issues with “Ode to Echo” upon its release. I wrote the track “I Am I” and felt that it came nowhere close to what I had envisioned for it. Guess what – it became a fan favorite. So what do I know? “The Breaking of the World” was an album I felt confident about during the writing and recording process, and still feel great about today. I don’t have a negative comment to add at this point. I’m sure it’s not a perfect album, but I don’t see the flaws yet.

DPRP: Can you tell us something about the worldwide reactions? Where are the hot and white spots on the musical world map?

Steve: The fan response has been incredible. Our fan base has been steadily growing for years and “The Breaking of the World” seems to solidify our spot in the top-tier of modern prog rock acts. Traceable data shows that our iTunes and web audience is world-wide with the heaviest concentrations in Europe, North America, and Japan. Wherever fans of prog reside, we try to make Glass Hammer albums available. Though, not only with the prog music connoisseur, we are fortunate to cross into fandom from many diverse interests such as: literature, sci-fi/fantasy, scholars and even classrooms, I am told. To address an earlier point, much of this exposure is due to our lyrics and the subject matter of our work. Some, in scholastic circles tell us they have observed the evolution of Glass Hammer over the last twenty years and see us more as a cultural phenomenon of sorts, not just an interesting prog act. They have seen a bigger picture which compels them to stay with us year after year. We’ve built loyalty and numbers by continually delivering an experience that strikes a chord with our audience, and by communicating directly with them. The loyalty goes both ways so to speak.

DPRP: Recording has the charm of the opportunity to do things again and again. And probably again. What are for you the most challenging aspects performing the new songs live on stage?

sm-Steve-Aaron-credit-Karel-ZuiderveldFred: Well, a couple of them are pretty easy because they were worked out live in practice to begin with- although it has to be said things always get even tighter when you can do them for an audience.  Third Floor is the major exception; it was always a studio creation and we had no plans to play it live.  When we actually decided to we had to tweak the arrangement because I can’t play all the keyboard parts in the verses and sing it.  So, those are the kinds of things you look at.

Steve: We have a rock-solid drummer in Aaron Raulston. As a bassist, this makes my job much easier. Other than issues with gear and technology, practically all other concerns can be addressed by rehearsing. In Glass Hammer, you must rehearse on your own time by yourself, and spend as much time as possible in the band room with everyone else. Rehearse, rehearse, rehearse and then rehearse some more. If you don’t perform up to par for your audience it shows a lack of passion for your art. So I take that extremely seriously. The logistics of playing live is the real pain for me. Lining up the shows, getting all the technical stuff together with everyone, hoping everything works – that’s nerve wracking. Being on stage is an absolute joy.

DPRP: We had the Round Table Review here on DPRP and the conclusions vary from 5 to 9 (of 10). What do you think about those reviews?

Fred: Well, I always question the usefulness of having a review by someone who doesn’t like the sort of thing he’s been given to review and there seemed to be one or two of those.  It’s one thing to say “I love barbecue and this is not a good barbecue restaurant” and another to say “I hate barbecue and I hate this barbecue restaurant.”  And even another to hate barbecue and not mention that prior to writing a review where you say you hate the restaurant.  I personally find the last two not only useless but kind of working against people who, to torture an analogy, are looking for a place to eat barbecue.  I like constructive criticism, but to say “this is mediocre” and offer no constructive explanation as to why you feel that way- to me it’s disingenuous and insulting to people that worked very hard on something that is, incidentally, enjoying a very good reputation in some circles; even the same circles.  So there’s that.  But, that being said, I understand not all people are going to be into it.

DPRP: I am completely fine with that “barbecue” comparison. And believe me, many of us would like to go (only) for their favourite dish. And we really try to manage it. But sometimes you get served different meals – this can broaden your mind of course. But we aim to take our business serious and don’t wanna be a fanzine or the arm of the marketing company. So if we make a Round Table Review with 4 or 5 people, there is a slight opportunity of getting a different meaning. We believe that this makes it more interesting for the readers AND maybe end up in the intention: 5? 9? Oh what – I have to proof that by myself….. Glass Hammer is a quite polarizing band and you are often confronted with prejudices and superficialities. You can read things like “ love them or hate them ” .

Fred: It’s tough whenever people don’t like what you do, but I’m a realist and I get it.  In fact, privately I’ll hold plenty of my own reservations about what we do.  It’s what drives us forward; we want to better and improve with every album and hopefully we succeed to varying degrees.  It can be like putting your baby in a beauty contest; you have to take whatever criticism comes along but while you can be a realist about your baby, woe to a stranger that comes along saying they are ugly.  Like I said, I don’t mind useful critics.  I really don’t mind someone not liking one of our albums.  I have a thick skin myself.  I do feel bad for other members of the band that might or might not be more sensitive, that really feel like they are putting themselves out there just to be smacked down.  I simply think there’s a diplomatic way to say you don’t like something, or that it missed the mark for you, and there’s being an asshole.  I don’t like the assholes.  But all in all, we have our audience and we do fine.  The internet is a place where a good degree of snark has become great currency.  Writing a savage review can be considered very funny and entertaining.  Luckily in the prog community there’s really not much of that; most reviewers really are trying to be useful and edifying for their audience and I truly appreciate that.  And I am a realist; I don’t go out there thinking every album we do will be treated like the reinvention of the wheel.  I do like to think they all fall to a certain standard of professionalism at the very least though.  But to get to the heart of the question, I make album for me first, fans second and everyone else last.  Every person that likes one in an outwardly radiating circle from myself is just gravy.

Steve: I googled “love them or hate them” and found the same said of Pink Floyd, Genesis, Rush, Yes, Porcupine Tree and The Flower Kings. That was just a quick glance. Polarizing? Seems we’re in good company. Seriously, all involved with the prog-scene from reviewers and columnists to bass players and graphic designers – all of us need to stay on the positive as much as possible. We should be cheering each other on. Seriously!

DPRP: Yes, in that context you are surely in best company. We don’t have to talk about “Love Beach” (ELP) – but as for instance mentioned “Genesis”: from “The Lamb” until the end they got those 5 and 10 reviews?

Steve: I’m not saying reviews should all be 5 star reviews, but that words should be chosen carefully. So a word to reviewers who find themselves about to publicly crap on the hard work of any band – reconsider! Maybe shelve your review until you’ve had time to think it through again. Maybe you’re not the right guy for the job. You have the opportunity to encourage an artist or group to excel or to do better and reach higher. Or, you can, without considering the real pain and labor that goes into making these albums, trash the creation and the creators and take a chance that you crush their spirits and influence their audience to such a point that no one bothers to hear the work. If that sounds silly to you (and it may to some reviewers) then I’d suggest you find another way to spend your time because you really don’t have even a basic understanding of how musicians work and how they feel. And if you can’t comprehend the musician, then you aren’t qualified to write about him!

DPRP: All “progressive rock” labeled albums are good? OMG – you do not really mean that honestly? So then you actually don’t know HOW good you are…… and what we are getting to our ears. In the end we are reaching the point where opinions equal or not.

Steve: We must agree to disagree I guess. I’m a music producer and part of that job is to encourage artists to excel, to be their best. At whatever stage of their craft they come to me, at whatever level they happen to be – I push them hard to be the best they can be. I never discourage them, no matter what others may think. There were key people in my life who did the same for me. My first attempts at songwriting were lamentable. But others pushed me on. That encouragement makes all the difference in the world. Maybe there is no room for empathy in the world of critics. That’s what it comes down to, empathy. Try as you might, you cannot separate a composer from his work. The work is an extension of the artist, and artists are a sensitive breed. There is a lot of research into the way their minds work. Musicians take things to heart differently than others. So you may never understand exactly where I’m coming from on this topic. It’s just a thought. There may be a way to criticize a work and still offer encouragement. Maybe not? That’s your job, not mine! Fortunately so, because I wouldn’t make a very good critic.

DPRP: My further intention of theses questions was to get to know, if you have a personal treatment for bad situations, you probably can share with our readers and younger bands? 20 years in the business have surely ups and downs. We are aware of the 27 club – how do you deal with unfriendly circumstances?

Steve: There have been plenty of ups and downs along the way. Glass Hammer is over twenty, but I’ve been in the business since I was a teenager. Perseverance is everything. I refused to give up, and there were some very dark days in my early career. Giving up wasn’t an option for me though. Since the inception of Glass Hammer I’ve really just kept my eye on the goal, which is to make great albums that I’d enjoy hearing myself. And bad things happen, all the time. I nearly destroyed my hands in an accident just before “The Inconsolable Secret” work began. I learned how to type with casts and braces on my arms, and wrote “The Lay Of Lirazel” in the three months between surgeries. We had no idea I’d ever be able to play again. But Fred stuck with me and we kept going. He’s had personal tragedies in his life and I have as well. “Perilous” isn’t just a thought we put music to – its about real life horror, as is much of “Ode To Echo”. Whatever life throws at you, use it. Turn it into something and get to work.

DPRP: The new album is always great. If you look back in your long history you will probably find tracks/albums you don ’ t like that much (anymore). Would you say there is a point during the writing/recording process where you realize, something just will not work, though you had a different opinion at first? Is there a point of no return, where you are carrying on despite all concerns?

steve aaron alan fredFred: I would say no… most songs don’t really get to that point; they’d have been abandoned well prior to that.  We certainly have songs that work less than others in our eyes but we feel are still worth putting on the record.  Ironically, those are almost always the fan favorites, which just shows, as William Goldman said, that “No one knows anything.”

Steve: I do throw out a lot of ideas before sharing them with the band. As I said previously, I had serious problems with “I Am I” from “Ode to Echo”. It wasn’t coming together right for me. And I let it go on the record despite my misgivings. People love it. So there. I’m glad.

DPRP: Something completely different. When you started way back in the 90 th , we had record companies, contracts and their marketing machines. Times have changed, The Breaking of the World is self released and available as physical CD and downloads via amazon, itunes and co. What is your opinion about the new ways of distribution like streaming portals (Spotify, Apple)? Do you see more chances or risks? What would be an advise to young starting bands?

Steve: I encourage every musician (regardless of age) that walks into my studio to remain indie and to be prepared for hard work. Make great music, make a great package to present it in, find ways to tell people about it, then sell it as if your life depended on it. I’m a full time musician and I know that’s a rarity. If you give music away, then you’ll deserve what you get in return, which, incidentally, will be nothing at all. Streaming isn’t the way prog fans relate to music. I’ve polled them. They want to own a disc or a record. Some, quite a few actually, will pay for downloads. But the vast majority, around 95% of those polled want to own the music, not stream it. But Prog is a niche genre and you cannot sum up what will happen within our circles based on what is happening in main stream music. The two have little in common. Streaming is a complete rip-off for the artists. So prog or not, I advise other musicians to avoid it like the plague. It’s a dead end street. We put a few Glass Hammer songs out on Spotify to whet appetites, but then we have seventeen albums and can afford to let a few go. iTunes is huge for us. CD sales have remained steady. The world may change around us, but the prog scene is working fine just the way it is.

DPRP: Let`s have a look at the future. What are your plans for the next two or three years? A lot of our readers are curious: are you planning to visit Europe?

Fred: We tentatively want to do the biggest, most complex thing we’ve ever done.  That’s pretty much it as a vague concept; something that cannot possibly go unnoticed.  What that is, we have no idea yet.  As for Europe, that’s unfortunately always going to be a purely business driven decision.  We need an offer that can make us leave our wives, kids and jobs and go.  On a personal level we’d jump at any reasonable opportunity.

Glass Hammer Double Live Deluxe Edition

Steve: Glass Hammer DOUBLE LIVE! Seriously. If all goes well we will have our first double live album ever, and our first live album since 2003. There’s a DVD in the works as well. We’ll make official announcements soon I hope. Look for the release this fall – fingers crossed. We would aim to have the next studio album ready to go by fall of 2016. That’s a target, and subject to change. But we plan to throw ourselves into this next project as never before. So the concept has to be huge and the whole affair must come off as the most epic thing ever! Sounds far-fetched but we like to challenge ourselves. We were just asked to consider performing the Goteborgs Art-Rock Festival in Sweden. We will have to wait and see if that moves forward. Nothing would give us greater pleasure than to meet and perform for our European fans. I have probably answered this particular question a dozen or so times in the last ten years. It all depends on the festivals and the promoters. Fans have to let them know that they want to see Glass Hammer in Europe. That’s all that stands between us and actually being there. We are awaiting on an invite with a budget attached substantial enough to actually get us there!

DPRP: Wow, that great news! That’s why you gave us the hint before – hehe… Tell us something more please!

Steve: It was recorded live at RoSFest 2015. Its called Glass Hammer Double Live Deluxe Edition. (Deluxe because we’re including a bonus dvd. So its 2 cds and 1 dvd). Songs will be from our albums Perelandra, Shadowlands, The Inconsolable Secret, If and The Breaking Of The World.

DPRP: Thx. And we are crossing our fingers for your visit to Europe. The last one is your joker: Which Question you would ask yourself and what is the answer?

Fred: Why was Leif Ericson called that?  A: Because he brushed his teeth with cheese.  I actually did ask myself that many years ago and that turned out to be the answer.   But I don’t do that stuff any more, I was a teenager.

Steve: Incidentally, I have no idea what he’s talking about. Here’s my question to myself. Do I want barbecue today? Answer: Yes I do.

DPRP:  So now we reached the point to give you a big “THANK YOU” for this interview. We are sure our readers will appreciate this very much, and so we do. We are looking forward for the upcoming Glass Hammer DOUBLE LIVE!, and maybe there will be another Round Table Review 🙂 As you are one of the most hardworking bands we really appreciate taking your time “chatting” around here in our virtual progressive rock cosmos lounge.