▄█████▄ ░█████▄ ▄████▄░█▄ ░█▄ ▄█████▄ ███▄██ ▄██ ▄█▄ ▄██████ ▄█▄ ▄███ ░████░██▀████▓ ▀██ ▄██░▀█████ ████ ███▓ ██████▓██ ▓███████ ███▓░▀█▀████ ███▓ ███▓ ▓███░ ██ ██▄ ▄██▓██ ▓███▓██░ ▓███░███░███████████▄ ███░███░ ███░ ▄███ ███ ▄█▀░ ████████░██ █████████▄ ▓██░███ ███▓█████████ ███████ ███ ███░ ███████ ███▓ ░██ ██ ██████▓ ░██ ▀██ ███░███▓██████ ███▓███ ███ ███ ████████░███░ ███ ██▄ ██▓███░ ██▄ ██░██▓ ███ ▀▀████ ███░███ ███ ███ ███▓░███████░ ███ ███▓██ ███ ███▓██▓██░ ███ ▓████ ███ ███ ▓██▓ ███ ███░ ▓██████ ███ ▓████ ▓██▄ ▓████████ ███ ▓███ ███ ███ ███░███ ███ ░██████ ███ ░████ ░███ ███▓███▓ ███ ░███ ███ ███ ██▓███ ███ ███▓██ ███ ███ ▓██▄ ███░███░ ███ ███ ███ ███ ░█████ ███ ██▓░██▄ ███ ▓█▀ ▓██▄ ███ ██░ ███ ██▓ ███ ███ ░███▀ ░█▀ ██░ ██ ░█▀ ░███▄ ▀ ▀ ▓█▀ ███░ ░█▀ ██▀ ██░ ▄██▀ ░█▄ ▄███▀ ░██ ░ ██ ▓░ ▓░ ██░ ▓█░ ░█▀ ▀█░ ░█▓ ░ ██ ██ Artist: Glass Hammer ██ ██ ▓ █░░ ■█ Album: Valkyrie █■ ░░█ ■ █▓▀ █ Year: 2016 █ ▀▓█ ░ █ ▓ Rel. Date: 2017-04-16 ▓ █ ▒ ▒ Genre: Progressive Rock ▒ ▒ █▄ ░ Label: Arion Records ░ ▄█ ░ █▄ ░ Source: CD ░ ▄█ ░ █▓ Type: Album ▓█ ░ ▓ █ Quality: VBR, 44.1kHz, Joint Stereo █ ░ ▓ ▓ █ █ ░ ▓ ▄ ■ ■ ▓ ■ ░█ █░ ▀ █ Once they hit their first stride early in the mid █ █ Nineties with `Perelandra', American progressive █ █ rock band Glass Hammer have delivered a █ █ consistently strong series of symphonic-prog █ █ albums, earning the well-deserved reputation as █ █ one of the premier modern bands playing in that █ █ style along the way. Two of their albums in █ █ particular, first 2002's `Lex Rex' and the epic █ █ double-set `The Inconsolable Secret' three years █ █ later are often considered modern symphonic █ █ classics (and fans of the group will happily argue █ █ back and forth amongst each-other about which of █ █ their numerous other releases over the years can █ █ join those two!), but 2016 finally brings not only █ █ the undisputed next album to join that duo, but █ █ one that is likely to become the defining Glass █ █ Hammer album of their entire career to date. █ █ `Valkyrie', a lyrically rich concept work telling █ █ the tale of a loving couple separated by war and a █ █ soldier's eventual emotional and mental struggle █ █ upon returning home is ripe for a lyrically and █ █ musically dramatic interpretation, and the group █ █ completely convey the trauma and turmoil with █ █ great sincerity and empathy - certainly a grounded █ █ story a world away from the fantastical elements █ █ so often found on progressive rock albums! But █ █ while fans and progressive music listeners only █ █ aware of the type of style Glass Hammer play in █ █ would be right to expect another grand symphonic █ █ work to match the story, what will likely surprise █ █ everyone is just how modern sounding this `retro █ █ prog' band is throughout the disc. It's still █ █ instantly recognisable as the Glass Hammer their █ █ fans know and love, but this is hardly some mere █ █ vintage prog re-enactment. `Valkyrie' sees the █ █ band experimenting with little traces of elegant █ █ cinematic grandness, Post Rock, jazz-fusion, █ █ psych-pop, electronica and even hints of heavier █ █ rock, making for a work with a rejuvenating, █ █ eclectic and contemporary edge that has all the █ █ musicians sounding completely refreshed and █ █ determined to impress. █ █ With previous singer Carl Groves away from the █ █ group again for now, the time is perfect for three █ █ of the most important contributors to the Glass █ █ Hammer sound to reclaim their throne. Taking the █ █ well-deserved leading lady spotlight once again █ █ and delivering a career best performance is Susie █ █ Bogdanowicz, and far from being just a lovely █ █ singer with a pretty vocal, as always she brings █ █ true spirit, powerful conviction and a dramatic █ █ heart that puts most of her fellow contemporary █ █ prog ladies in check. It's also a delight to █ █ discover GH founding members, bass player Steve █ █ Babb and keyboardist Fred Schendel, taking equally █ █ as many of the lead vocals again too (especially █ █ the latter). They might not quite have the bigger █ █ vocal ranges that past singers such as Groves, Jon █ █ Davison and others had, but they've been singing █ █ on Glass Hammer discs since the beginning, and █ █ their voices have always been full of personality █ █ and character, making this something of a █ █ `homecoming' vocally for them, and a real joy to █ █ hear for long-time Glass Hammer fans. The two █ █ other players are now long established in the █ █ group and must be well on the way to be part of █ █ what can be considered the `definitive' Glass █ █ Hammer line-up - Aaron Raulston's drums rumble █ █ with such variety, depth and purpose, solidifying █ █ him as the best and most complex drummer to ever █ █ be a part of the band, and gifted guitarist Kamran █ █ Alan Shikoh once again finds way to delivering █ █ equally ravishing and subdued performances, █ █ reaching in some surprising directions here we've █ █ never heard of on previous Hammer discs. █ █ Launching right from the start into delirious █ █ proggy excess balls-and-all (or as politely as █ █ prog can do `balls-and-all!'), `The Fields We █ █ Know' bombards the listener with plenty of what █ █ Glass Hammer do so well - up-tempo and lively █ █ colourful instrumental flashes racing in all █ █ directions alongside catchy vocal passages with █ █ the perfect mix of whimsy, warmth and drama. It █ █ makes for an energetic opener that instantly calls █ █ to mind their `Lex Rex' album, with moments of █ █ dreaminess and little playful call-outs to █ █ Genesis, all backed to Steve's rumbling bass █ █ leaping about loud and proud - is there seriously █ █ a better bass player active today performing this █ █ type of prog music who always sounds this good?! █ █ Next up, `Golden Days' is sprightly and warm to █ █ match the wistful lyric, full of Fred's always █ █ sublime zippy keyboard solos and embracing Susie █ █ and Fred vocals with glorious multi-part group █ █ harmonies, but a Pink Floyd-flavoured █ █ electric-piano come-down and grinding brooding █ █ guitars to end on hint of approaching darkness. █ █ `No Man's Land' is mostly comprised of several █ █ lengthy instrumental passages, including a booming █ █ synth introduction, manic jazz-fusion twists, █ █ loopy percussion twitches and seamless bursts up █ █ and down in tempo, an unsettling edge to an eerie █ █ droning spoken-word-like interlude and a █ █ distortion-heavy stormy climax the final █ █ destination. █ █ But even when the band isn't charging headfirst █ █ into a dozen different proggy directions there's █ █ still wonderful things to discover. Instrumental █ █ `Nexus Girl' bristles with slinking electronics, █ █ programmed beats and Post Rock-flavoured chiming █ █ guitars behind the whirring synths, and the █ █ simpler Steve-sung title track `Valkyrie' is █ █ dreamy and drowsy psychedelic pop that eventually █ █ rises in power. Alan's chugging heavier guitars █ █ and Steve's mud-thick menacing bass make `Fog of █ █ War' rumble with a toughness, and the track holds █ █ one of the most joyful and unashamedly poppy █ █ choruses the band have ever delivered with a █ █ strong crossover appeal (well, if the rest of the █ █ track wasn't Prog dialled up to 11!). █ █ `Dead and Gone' effortlessly moves between █ █ melancholic, hopeful and mischievous! Sad piano █ █ and a treated haunting vocal from Susie cry █ █ ethereally from beyond throughout, but creaky █ █ Mellotron-slices, humming organ and life-affirming █ █ guitars lift the track in hope and victory, but █ █ still with a looming tension. It's a nice showcase █ █ for Kamran too, who's guitars offer everything █ █ from weeping strains, infernal snarling bites and █ █ cutting jazz-fusion fire all in under ten minutes █ █ - and just dig that darkly grooving finale from █ █ the fellas! █ █ The pristine `Eucatastrophe' is a heart-breaking █ █ Susie-led ballad, the chiming classical guitars █ █ throughout reminding of the final moments of █ █ Genesis' `Dancing with the Moonlit Knight', and █ █ it's one of the most precious and sobering moments █ █ on the disc before the piece dashes into tougher █ █ E.L.P-flavoured keyboard flare. The opening █ █ acoustic guitar reflection and pin-drop still █ █ piano of final track `Rapturo' show just how well █ █ the band deliver quieter, sedate moments, the rest █ █ of the carefully focused piece going on to soar █ █ with Anathema-like reaching guitar shimmers and a █ █ dignified powerful vocal send-off from Susie that █ █ makes for an album closer unlike any to appear on █ █ a Glass Hammer before. █ █ A widescreen masterclass example of current █ █ progressive music that perfectly fuses vintage and █ █ modern sounds with an equally on-point balance of █ █ subtlety and bombast, Glass Hammer have completely █ █ set the symphonic-prog standard of the year with █ █ `Valkyrie', their most ambitious, mature, █ █ grandiose, vocally exquisite and instrumentally █ █ rich work to date. Long-time fans will absolutely █ █ adore it but also likely be very surprised as █ █ well, and newcomers to the group could not pick a █ █ better place to start exploring their wondrous █ █ music. Crackling with warmth, variety, inspiration █ █ and overall progressive music excellence, it is █ █ very possibly the greatest musical statement of █ █ Glass Hammer's near 25-year career so far, but █ █ indisputably one of the finest and most essential █ █ prog discs of 2016. █ █ █ █ --- █ █ █ █ Here's a concept album about the trauma suffer by █ █ those who survived the war and how this trauma can █ █ take many forms in life. In the recent past years, █ █ the band wrote individually, so the songs were █ █ eclectic. Now Fred and Steve wrote together the █ █ concept like they did in the early days. They took █ █ the time to find the best guitar parts to go with █ █ that concept and they worked a lot more with tone █ █ before recording. I was disappointed with their █ █ last albums, the songs were a bit sloppy and I █ █ thought I was tired of the band sound. But when I █ █ listened to this new one, I discovered a new sound █ █ and a new direction which is not obvious in the █ █ first song "The Fields We Know" But in the second █ █ song "Golden Days", some heavier guitar parts █ █ surprise me and some new keyboards sounds. I could █ █ even hear some Crimsonesque of the late period █ █ vibe in some places. The epic "No Man's Land" is █ █ the most complex and dramatic song with some dark █ █ atmosphere, an avant-garde passage. There're some █ █ recurrent themes bringing the song to some █ █ cohesion despite many moods and rhythm changes. I █ █ never heard a song like this from the band. "Nexus █ █ Girl" is an electronica, post-rock interlude that █ █ is showing another time another side of Glass █ █ Hammer. The title track is in the pure band █ █ symphonic style. "Fog of War" show some Geddy Lee █ █ and Chris Squire bass style with some heavy prog █ █ music. "Dead and Gone" is another highlight █ █ starting as a ballad but the pace picking up in █ █ some dark atmosphere and with some groovy █ █ instrumental parts from every musician. The album █ █ end peacefully in a post-rock atmosphere. █ █ I think that the band has succeeded here with some █ █ concise songs, you can feel the work behind this █ █ just by listening to the sound of each instrument. █ █ If the keyboards of Fred Schendel are still █ █ playing a big role in the band sound, this time, █ █ the others musicians have more space to create an █ █ album that has a richer and fuller sound █ █ █ █ --- █ █ █ █ War. A revolting human trait that has plagued █ █ mankind since that silly monkey decided to bash █ █ that nasty gorilla over the head with some █ █ abandoned saurian femur, as depicted so vividly on █ █ 2001 Space Odyssey. Seems like advanced and █ █ enlightened societies fare no better that the █ █ primitive barbarians (as if the Romans were fuzzy █ █ and wuzzy in their conquests!) It is impossible to █ █ be a historian, amateur or professional, without █ █ dabbling in some kind of "cassus belli" that █ █ defines some period in human development. Sad. █ █ True. C'est la vie! █ █ Veteran American prog band Glass Hammer continues █ █ to delve further into this subject matter, proving █ █ its importance by making a gigantic leap forward █ █ with this splendid effort "Valkyrie". Arguable █ █ perhaps, their finest career moment remains the █ █ live at the Belmont DVD as well as 'the █ █ Inconsolable Secret' double album, a perennial █ █ favorite of many GH fans. I really liked "Culture █ █ of Ascent" as well but it seemed to me and many █ █ others that subsequent albums while being quite █ █ tasty, never really hit the heights of that █ █ whopping 2CD masterpiece. "Cor Cordium" and "If" █ █ were fine recordings but had no staying power in █ █ terms of melodies and return visit yearnings. It █ █ seemed somehow missing soul or even depth, though █ █ the playing was phenomenal. With "Valkyrie", it █ █ obvious immediately that a new infusion of sound █ █ as well as a deepening sense of pace has taken █ █ root and flourished. Sprinkled throughout this █ █ opus are some snippets that are totally new to GH, █ █ as if Schendel and Babb searched out more █ █ resonating sounds that were modern, yet retro, █ █ futuristic and also backward looking historic ( a █ █ sort of oxymoron, as history knows only one █ █ tense). This is best expressed on the brief but █ █ exhilarating "Nexus Girl", a tremendous oblique █ █ innovation to the GH sound, featuring some robotic █ █ pulsations from drummer Aaron Raulston (a total █ █ revelation here btw) and swirling synthesizer █ █ furls that wink at the Simon House-penned Hawkwind █ █ instrumentals. I was floored when I first 'eared' █ █ this track. █ █ Within seconds of "The Fields We Know" opener, the █ █ resilient bass guitar steers the arrangement, █ █ always a welcome navigator of progressive oceans, █ █ Steve Babb has definitely acquired the Chris █ █ Squire methodology of tyrannical leadership of the █ █ low end. From that point onward, the symphonics █ █ are elevated to new heights through a variety of █ █ shifts and tones. "Golden Days' is a definite █ █ plateau, with some stellar playing by everyone, █ █ shading behind ominous timbres and sprightly █ █ horizons, guitarist Kamran Alan Shikoh showing off █ █ a comfort level that finally achieves maturity. █ █ Co-founder Fred Schendel is a master of the █ █ keyboards, showing off new found energy on █ █ electric piano, strange how that instrument is █ █ often a benchmark for musicians looking for that █ █ higher plane. █ █ The epic "No Man's Land" is a track I can relate █ █ to both musically as well as historically, as I █ █ was being carried as a six-month old child across █ █ the Iron Curtain , in my father's shielding arms , █ █ as gunfire erupted when we were already in the █ █ 'killing zone' between Austria (freedom) and █ █ communist oppression in Hungary. Musically, all █ █ the emotions are surely entwined , woven in a █ █ variety of silky passages, from soft and gentle, █ █ to sentimental, to actively bellicose, almost King █ █ Crimson-ish (this is the newfangled addition in █ █ the Glass Hammer style) in the mid- and final █ █ sections. Rambling organ reminds us that KC was no █ █ keyboard virtuoso's showcase, but the gloom and █ █ doom are definitely "Bible Black". This eeriness █ █ is most welcome, as its gives the band new impetus █ █ while strictly adhering to the subject matter of █ █ this opus. The spoken word poetry is forlorn, █ █ despondent and imbued with the glacial droplets of █ █ fear and death. Easily one of GH's finest tracks, █ █ a modern, historic, propulsive and melancholic █ █ piece of music. █ █ The title track introduces colossal symphonics in █ █ the form of pipe organ blasts, as in some kind of █ █ keyboard artillery barrage, elevating another █ █ exhausted soldier's voice, pleading from some █ █ respite, as if some nebulous mist has permeated █ █ the battlefield of sounds. There is a Beatles-like █ █ dreamy passage that presents another new facet to █ █ the growing GH sound palette. █ █ Top of the class is "Fog of War", a gruesome █ █ assault on the prog senses, lavished with bass █ █ cannonades that bruise and concuss, an active █ █ Raulston drum kit that is used as a missile █ █ launcher of deadly and precise beats, tortuous █ █ sniper fire keyboard volleys and a fusillade of █ █ machine gun guitars that seek out and destroy. █ █ Vocalist Susie Bogdanowicz takes a larger part of █ █ the stage, fulfilling the wants of the fan base █ █ and the needs of the musicians. Steve Babb does █ █ sound like the sadly departed Squire but he also █ █ possesses a tone reminiscent of Peter Hook of New █ █ Order fame, by all accounts both very upfront and █ █ in your face bassists, for which we all should █ █ remain thankful that the crown is still being worn █ █ by the 'hidden ones'. █ █ Follow that up by the blissful epic "Dead and █ █ Gone", featuring a glory-draped vocal plaint from █ █ Bogdanowicz, spooky organ in tow slowly burning █ █ through the soul, the band sounds very much like █ █ fellow proggers Magenta, the voice neighbouring █ █ Christina Booth's , a vibrant compliment in my █ █ mind. The arrangement evolves into something █ █ raunchier in the mid-section, a dazzling organ █ █ solo at first and then a darker and heavier march █ █ into battle. A return to the solemnity of the █ █ opening minutes, deeply emotive and serene, █ █ displaying a sense of restraint that is again █ █ quite new to GH. █ █ The short ballad "Eucatastrophe" is sizzling with █ █ ominous drippings, but the classical guitar █ █ leadership is given full value with a tearfully █ █ poignant Bogdanowicz rendition, gentle █ █ orchestrations for company. The second part is █ █ Jⁿrgen Fritz-like organ plastering (sounding like █ █ vintage Triumvirat), sombre themes and desolate █ █ ending. This bleeds (pun) nicely into the stately █ █ "Rapturo", a demure nocturne that shows off █ █ tremendous sensitivities, symphonically morphing █ █ into a mellotron and drum concoction, slow and █ █ gentle, imperial and riveting. The sun sets █ █ melodically on an inspired performance, sourcing █ █ new motivations and innovative tweaks that show a █ █ band clearly progressing beyond its alleged █ █ limitations, as GH was often cruelly pilloried for █ █ being too close to a Yes clone, the Jon Davison █ █ episode certainly fueling the fire of unjust █ █ gossip. This trivial branding can now be buried in █ █ some appropriate military cemetery as GH has found █ █ a new level of creativity and a wider panorama of █ █ sounds. Really impressive release and harbinger of █ █ things to come. █ █ █ █ --- █ █ █ █ Using a more open space, 'live' recording style, █ █ this band of American veterans has produced what █ █ is, in my opinion, their best album ever. The █ █ sound here is often quite similar to that of their █ █ 'vintage-instruments-only' magnum masterpiece that █ █ they contributed to the 2005 Colossus █ █ Magazine/Musea Records production of Odyssey: The █ █ Greatest Tale. I have not actually contributed █ █ many reviews to Glass Hammer releases because they █ █ have never really connected or resonated with me █ █ before. (Their NeoProg bombast is usually so █ █ cheezy and over-the-top Yes- imitative as to not █ █ feel worth my time--especially since I do not █ █ generally like to give poor reviews--[unless a █ █ bubble needs bursting]. Until now, Glass Hammer █ █ was free to go about doing what they do [imitate █ █ Yes] and I would respectfully leave them alone). █ █ 1. "The Fields We Know" (7:37) opens familiarly █ █ but then enters into Olympus with the multi-voiced █ █ chorus. Despite the presence of oft over-used and █ █ domineering Hammond organ and Rickenbacker bass, █ █ the boys use the two in different enough ways to █ █ allow the melodies and music to feel fresh and not █ █ bombastic. (9/10) █ █ 2. "Golden Days" (6:20) Though I like all of the █ █ vocal contributions to this album, having Susie █ █ Bogdanowicz on lead vocals certainly does make for █ █ an improved sound. Great melodies and key/chord █ █ progressions throughout. (9/10) █ █ 3. "No Man's Land" (14:20) opens with a rather █ █ long introduction (nearly three minutes) █ █ containing some beautiful instrumental soundscapes █ █ and chord progressions before the music shifts █ █ into a more syncopated stop-and-go section in █ █ which tuned percussion and acoustic guitars are █ █ given some of the spotlight. A minute later chunky █ █ bass, Hammond organ, Steve-Howe-like guitar sounds █ █ and riffs and synth washes help support Susie's █ █ lead vocal during the first verse. The chorus is █ █ more of a collective, male-dominated affair, but █ █ then Susie regains the lead with the second verse. █ █ The song gets a little funky and a little █ █ predictable in the second half--especially in the █ █ use of the organ. The vocals get mixed up quite a █ █ bit, but then those Hammond runs come in and kind █ █ of remind us of why prog died out in the 70s ("too █ █ much of that organ" my daughter would say). (8/10) █ █ 4. "Nexus Girl" (2:58) is a very modern sounding █ █ little instrumental that opens with some great █ █ keyboard work supported by some kind of █ █ techno-trip hoppy computer-programmed drums. █ █ Again, some extraordinary ear candy in the form of █ █ the chord progressions, melodies and solos from █ █ the lead instruments (synths, MONO-like tremolo █ █ electric guitar). Great song! (10/10) █ █ 5. "Valkyrie" (5:54) opens in a very Neo Prog █ █ fashion with BIG instrumental intro (including █ █ Wurlitzer-sounding church organ) before everything █ █ quiets down to support a vocal that is interesting █ █ for its muted effect for the first verse. The █ █ second verse allows the vocalist(s) to go unmuted. █ █ Nice melody--which is eventually taken over by Ms. █ █ Bogdanowicz. Nice! (9/10) █ █ 6. "Fog Of War" (8:23) finds the band, █ █ unfortunately, reverting to YES-imitation (Drama's █ █ "Tempus Fugit" and others comes to mind █ █ immediately). A lead vocal by Susie Bogdanowicz █ █ does much to distract us, but then a male takes █ █ over in a temporary RUSH-like passage. Back to YES █ █ for the fifth minute. Well executed and just █ █ original enough to be a total ripoff, but, still . █ █ . . Yes was Yes, this is now. (7/10) █ █ 7. "Dead And Gone" (9:56) for the first 3:35, this █ █ is a fairly simply structured and instrumented █ █ song over which Susie Bogdanowicz sings a gorgeous █ █ plaintive lyric about soldiers (as metaphor for ) █ █ But then the ELP-like Hammond bombast enters and █ █ threatens to take over. Luckily, this is fairly █ █ short-lived, until a GENESIS-like section takes █ █ over for a Steve Babb's brief turn at lead vocal. █ █ By 6:30 we're back to the simplicity and beauty of █ █ the first section. Some of the instruments do █ █ crank up their volume and intensity a bit in the █ █ eighth minute before a heavier, funky, effected █ █ instrumental section takes over before another █ █ brief Steve Babb vocal. Then, at the nine minute █ █ mark the music shifts to fast, more ELP █ █ instrumental bombast. I guess it's hardwired in █ █ these guys by now . . . (8/10) █ █ 8. "Eucatastrophe" (3:30) opens with the █ █ arpeggiated chords that ended GENESIS' "Cinema █ █ Show" before shifting into a gentle acoustic █ █ support for Susie Bogdanowicz' gorgeous lead █ █ vocal--which is sung mostly in the upper registers █ █ with her head voice. At the two-minute mark begins █ █ an instrumental onslaught led by Hammond organ and █ █ Rickebacker bass to end the song. Odd and █ █ incongruous--earning it's marks for the gorgeous █ █ first two minutes. (9/10) █ █ 9. "Rapturo" (6:12) opens with a couple of █ █ bell-like synth notes being played percussively █ █ while echo-y piano emotionally fills some of the █ █ lower end spaciousness. Really pretty! And then at █ █ the 2:25 mark drums, synths and Susie █ █ Bogdanowicz's gorgeous, almost angelic vocal fill █ █ the cathedral skies. The end of the depression is █ █ always uplifting but at the same time scary cuz █ █ you never know when 'the Dark One' will return. █ █ Thank god this one did not venture into Yes-land. █ █ If anything, it stayed in Post Rock territory! █ █ Gorgeous and powerful song! (10/10) █ █ Despite producing one of my all-time favorite prog █ █ epics for the Odyssey: The Greatest Tale project, █ █ GLASS HAMMER has had a great deal of trouble █ █ winning me into their corner. With Valkyrie they █ █ may have finally done it! Four stars; an excellent █ █ addition to any prog rock music collection. █ ▓ ▓ ▒ ▒ ░ 1. The Fields We Know 7:37 ░ ░ 2. Golden Days 6:20 ░ ░ 3. No Man's Land 14:20 ░ ░ 4. Nexus Girl 2:58 ░ ░ 5. Valkyrie 5:54 ░ ░ 6. Fog of War 8:27 ░ ░ 7. Dead and Gone 9:58 ░ ░ 8. Eucatastrophe 3:26 ░ ░ 9. Rapturo 6:04 ░ ░ 65:04 ░ ░ ▒ ▒ ▓ █ ░ ▓ ░ ■ █▄ ░ ██ ▀█▄░ ▄▄▄▄▄ ▓ ░ ▄▄▄▄▄ ░▄██░ ░ ▀████▓█▄▄█████████▓░ ███ ███▓░ █████████▄▄██████▀ ▓ ▓▀▓ ▒███████▀▀ ▀████████▒ ░████████▀ ▀▀███████░▓▀▓ ■ ░ ▄█░█▀▀▄████▄▓ ▀█▀ █▓░ ▒▓█ ▀█▀ ▄████▄ ▀███▄░ ▄█▀░ ░███▀▀▀███▄ ▀█▒ ██▓ ██ ▓█▀ ▄███▀▀▀███░ ▀█░ █▀ ▓██▓ ▄███ ▀█▓ ████ ▒█▀ ▓███▄ ▓██▓ ▀█▓ █▀ ▓██░ ▒██████▓ ▀█ █▓ █▀ ▓██████▒ ░██▓ ▀█ ▒ ▄██ ░███ ▓███▓ ▀░██░▀ ▓███░ ███ ██▄ ▒ ░█▀ ███ ▄▀ ███▄ ▓████▒ ▄███▀▄ ███ ▀█░ ▓█▀ ▄██▄█▀ ░ ██████████████ ▀█▄ ██▄ ▀█▓ █▀ ████▀█▄▓░▄█ ▀██████▀ █▄▓░▄█▀█▄██ ▀█▓ ░ ▄ ██▀ ▀████▀ ▀█▓▀██ ▀████▀ ▀███ ▄ ▒ █░█▓ ██░ █░ █ ░██ ▀██▒█ ███░ ▒█░ ▄ ▓ ▒ ░█▒ ▓███ ░ ▓██ ░ ██▓ ██░ ░██ █▒ ░ ░█ ▀█ █▀ ▓ ░ ░