By Geoff Baillie, 31 March 2025
Around this time two years ago, the Solstice album Light Up came on to my radar. The album had already been in circulation for a while, and I was certainly familiar with the band name, who at that point, in my head, were a neo-prog / early Marillion style band who didn’t quite make it. I was wrong in pretty much every respect there and the Light Up album really grabbed me, ending up being one of my Albums of the Year. Light Up was the second in the trilogy of albums that the newly reconfigured band had released, and now we have Clann. Whether it’s albums, books or movies, the “third one in the trilogy” can be a dangerous place to occupy, so let’s see about Clann…
The great news is that the band line up who brought us the previous two albums is back, and the opening track “Firefly” kicks off with some studio chatter before kicking in with a shimmering keyboard riff, with all the band in full flow. It’s one of those tracks where, even if you’ve not heard the previous two albums, will give you a taste of the Solstice sound – and by that I mean that Solstice’s particular combination of styles has strong elements of rock (in Andy Glass’s fantastic solo towards the end of the song and his choppy, funky rhythm lines earlier), folk (in Jenny Newman’s violin playing), prog with a jazzy aspect (in the rhythms provided by Peter Helmsley, the intricate and supportive bass playing of Robin Phillips and the keyboard inversions and leads of Steven McDaniel) and, dare I say it, pop (in the strong female vocals and harmonies of Jess Holland, Ebony Buckle and Duane Crutcher, the latter a new addition to the band). The chorus refrain even has the ladies singing “Light up, light up” referencing the album that came before!
The next track, “Life,” starts with a poppy/ lounge type feel but, as is the case with many Solstice tracks, the mood shifts to a more mellow acoustic section, crowned by some great electric guitar work. The style shifts are very organic and completely flow with the music, so you’re never quite sure where it’s gonna go next… and the answer is… funk! Hammond and horns, with a funky guitar usher in “Plunk” which is up next. Andy Glass conjures almost Steve Vai sounds and styles in the solo here, and the whole track has the feel of a female-led Chicago! The playing here certainly justifies the 2024 End of Year poll plaudits that Andy received.
I can’t be sure but I am guessing that “Frippa” which follows is so-named on account of the guitar line which sounds very much like a Discipline-time Fripp/ Belew style… except very much done in the Solstice way – this is a very cool track especially when the violin joins on the main riff.
“Save the best ’til last” they say… well in terms of bringing the trilogy of albums to a close, “Twin Peaks” does just that. At almost 14 minutes long, the plaintive violin and electric guitar intro, with Jess’s voice is light and beautiful. The build is slow but the gradually rising instrumentation and the “Come away/ run away” vocals lead us to an explosion of a guitar solo that leaves you wondering, where do we go from here? Unexpectedly, a burbling synth/ arpeggiator melody starts to pass from speaker to speaker as Jess improvises. The vocals start to build as the rhythm section join, before a brief pause, when the band returns to the melodies from the start of the song, bookending this great piece. This is surely in the running for Epic of the Year in 2025!
A bonus track closes the album off, taking us back to the very beginnings of the band, with a new version of Earthsong which appeared on their first album, 1984’s Silent Dance. Newest band member Ebony Buckle takes the lead vocal on this version. It’s a mellow ending to this album, and a nice bonus addition.
With Clann, Solstice doesn’t just complete a trilogy—they elevate it. This is a band that has honed its craft, embraced its evolution, and delivered an album that feels both like a culmination and a new beginning. From the dazzling intricacies of Firefly to the epic grandeur of Twin Peaks, Clann proves that Solstice is a band at the peak of its powers. If this is where the journey so far has led them, the real question is: where will they take us next?
Scot Lade : April 1 2025
March 31 2025
Our thanks to Nathan on Shuffle fort his wonderful review!
I am convinced that if someone had approached Andy Glass a while back and told him that all his work and trials over the last 40+ years would be finally worth it, that his band, himself and one of the singers would all be voted #1 in the latest Prog Reader's Polls, with three others also getting in the Top Ten, while their latest albums would be highly acclaimed by both fans and critics he would have had a very good laugh indeed, as what has happened with Solstice in the last decade has been nothing short of remarkable, and highly deserved.
The debut came out in 1984, the second in 1992 and the third five years later before they went into hiatus. It wasn't until 2010 that the fourth album was released, and Solstice was by now gaining some continuity with the first appearance of Jenny Newman (violin), Pete Hemsley (drums), Robin Phillips (bass) and Steven McDaniel (keyboards, vocals). This was followed up with 'Prophecy' in 2013 with the same line-up (Emma Brown singing on both), but then there was a gap until 2020 and 'Sia'. Emma had been with the band since 1997's 'Circles', but for 'Sia' they now introduced singer Jess Holland, and the world finally stood up and paid attention. The second album of the 'Sia' trilogy, 'Light Up', was released in 2022 and now we come to the final part, 'Clann'. The harmony layered vocals have by now become an incredibly important part of the band's live performance, so much so that they have now become one of the very few prog bands who hit the road with three singers, with Jess now joined by Ebony Buckle and Dyanne Crutcher (plus Nick Burns also guests on vocals on one track).
Solstice were always be associated with the Neo Prog scene, they were one of the most important bands keeping the prog light alive back in the Eighties, but their heavy use of violin always gave them a different sound, and now they are far more into crossover, both the sub-genre itself and the way they approach music. There is the strong sensation that here is a band who are finding their own way, and it is exciting and new, even though they have history going back aeons. They even recognise that as there is a bonus on the CD which is a rearranged take on "Earthsong" which was originally on the debut. Here is a band who are mixing folk, rock, prog and even dance into something which always feels light, airy, and simply remarkable. The harmony vocals alone gives them a very different take on prog, while Andy often sits in the background (with a very big smile on his face), rarely taking the lead role (although he can be dynamic and punchy when the need arises). Jenny has a wonderfully delicate touch on violin, knowing when to lead the melody, when to slow it down and when to make it sing, while Steven either provides banks of sound for the others to play against or take the lead himself. As for Pete Hemsley and Robin Philipps, here they provide a masterclass in rhythm section, knowing when to provide plenty of space and also when to come back in and hold down the foundation, even providing counter melodies.
Then there is Jess. She has one of those voices which is effortless, and she can do whatever she likes with it, but here she is fronting one of the most impressive and relentless prog bands around. There is little doubt in my mind that Solstice have produced the most remarkable, intriguing and delightful album of their career to date, and it is great to see how everyone else has finally recognised what an amazing band they are. I first reviewed them some 30 years ago and have always been a fan, but this is next level and very special indeed.
Scott Medina - March 24th Sonic Perspectives
The most joyous band on the rock scene, Solstice convincingly proves that they can be reborn again (and again) throughout their 40-plus-year career. They happily transcend the “prog” label, with their music having as much in common with Edie Brickell + The New Bohemians as with Yes, and they deserve adoring fans from every corner of the rock, pop, folk, and world music corners as well.
New album Clann is the third and final chapter of what has become known as the Sia Trilogy which began in 2020 with the band’s current revitalized lineup. These three albums spread love, joy and good vibes throughout every cell of their listener’s bodies. The 8-member band (4 gents, 4 ladies) is unstoppable, combining mastery of their instruments with unbridled enthusiasm and rapport with one another.
Solstice’s new identity is powered by Jess Holland’s exuberant vocals, marvelously embellished by Ebony Buckle and Dyane Crutcher. Their voices light up every song herein, making for an infectious listening. But of course, the heart of the band always belongs to founding guitarist Andy Glass, who presides over this bounty of riches with generosity and the frequent killer guitar solo.
Clann picks right up where the previous album Light Up left off, nary missing a beat or twinkle in the eye. Opener “Firefly” instantly captures the imagination with its swirling synth line from Steven McDaniel and Jenny Newman’s glorious violin lines. It takes a bit of time to get to Glass’ mind-blowing guitar solo, but it’s worth the wait. What tone and tasteful choice of phrasing! The band continues to roll through one spirited track after another, from the lilting “Life” to the funky “Plunk” which delights in McDaniel’s percolating organ playing and – can it be? – a horn section taking us even higher. The rhythm section of Pete Hemsley’s drum kit and Robin Phillips’ low-end bass is always on point, supporting the other players with tasteful drive and power.
One wonders if the opening Crimson guitar riff of “Frippa” is cheekily responsible for the song’s title. Regardless, its choppy urgency provides some welcome contrast from the other material on the album. But it all leads to the closing 14-minute mini-epic “Twin Peaks” which lets the band stretch out with a more spacious approach, slowly building up the intensity with an almost-chanted “Come away, heyay, runaway, heyo,” as Newman’s violin soars above and Glass launches into a satori solo on guitar. As the piece develops it gets even more trance-infused and hypnotic. Even though there are fewer musical ideas present than a track of this length would usually employ, its repetition becomes its strength. Solstice wins again.
There’s a “CD Bonus Track” here too called “Earthsong” which deserves to be heard by everyone, as it’s one of the most entrancing pieces in this collection. This is a rerecording of an earlier Solstice song, but dare I say this is the definitive version that benefits from modern production and the current lineup. If you didn’t get it with the downloaded album, it’s worth seeking out. McDaniel’s vibes and Phillips’ bass provide a rich bed for Newman’s violin to play on top of before the vocals glide over top. Fantastic.
If this album review seems to be too littered with glowing adjectives, it simply can’t be helped. Solstice is that kind of band. A true treasure. They have found their place in the modern prog world and are apparently being recognized as such, having just won Prog Magazine’s reader’s poll for Best Band. Bravo!
Songwriting: 9
Musicianship: 9.5
Originality: 8.5
Production: 9.5
Martin Burns 9/10
With the release of Clann, Solstice have rounded off The Sia Trilogy in fine style. The trilogy began in 2021 with Sia disliked by my colleague Stefan, but very well regarded elsewhere. It was joined in 2023 by Light Up which received a recommended rating from Geoff. Now Clann is with us, and it sees Andy Glass' collective pulling out all the prog stops and more.
The well-bedded in line up remains the same as for the other albums in the trilogy, except for the addition of two more vocalists (Ebony Buckle and Dyanne Crutcher) and a guest vocalist Nick Burns on Twin Peaks. Clann sees Solstice continuing to bring a joy to music making.
Solstice move effortlessly between symphonic prog on Firefly, cross-over prog on Life a track that wears its folk elements lightly. While Plunk and Frippa see Robin Phillips (bass) and Pete Hemsley (drums) bring the funk with delicate and twisting rhythms that add pace and space for the horns (samples or real I can't tell) and Steven McDaniel's organ playing. The less intense Frippa gives space for Jenny Newman's wonderful violin solo, then a synth solo before Andy Glass's scorching guitar solo. I'm not sure that he's been better than he is here.
The closing new song Twin Peaks is a long form piece in two halves. The first section starts with gentle Hackett-like guitar and a delicious violin melody building leisurely into a powerful ballad with singer Jess Holland, who is no slouch on the rest of the album incidentally, absolutely shining. She is supported brilliantly by the other vocalists with beguiling harmonies. These come to the fore after the hallway point where sequenced synth and atmospheric instrumentation brings to mind the opening bars of Yes' Close To The Edge. The vocals evolve into harmonised chanting, summoning something wonderful from the ether. A return to the opening melody rounds this off beautifully.
There is a CD-only bonus track Earthsong. It is a re-recording of the song that featured on Solstice's debut album Silent Dance from way back in 1984, reviewed in these pages on its 2007 re-issue. The song feels new and refreshed with this line up and the superb production values that cover the whole album with a sparkling sound.
Solstice's Clann sees a band that keep giving their fans headaches trying to work out which of their albums, from Circles onwards, is now their best. Newcomers can start here too as the album stands by itself as well as being part of a trilogy. Clann's songs are a joyous commendation of the power of love and connection.
Patrick McAfee 8/10
As a long time fan of progressive rock, I am embarrassed to say that this new release by Solstice was my introduction to the band. There is no logical explanation as to why it took me forty years to give them a listen, but as the saying goes, 'better late than never.' With its deft blend of classic prog, folk, pop and Celtic influences, the album proved to be a great starting point.
This current line up was cemented in 2020, and they've certainly been prolific. Clann is the third in a trilogy of studio albums released in just over four years. There is a Neo-Prog element to their sound, but also a modern approach that is refreshing. Founding member Andy Glass, has clearly recruited talent with the intent of bringing fresh perspectives to the band's output. A key example is lead singer, Jess Holland, whose edgy & contemporary leanings bring a welcomed spark to the more traditional musical surroundings.
The vocal harmonies and instrumentation throughout are outstanding. Guitarist Glass has a soloing flair that is reminiscent of peers such as Steve Hackett and Steven Rothery. The relatively compact album runtime (45 minutes), flies by in large part due to the diversity and strength of the material. Highlights include the upbeat, FireFly, the timely and socially conscious Frippa and the vibrant mini epic, Twin Peaks.
So abundant in riches is the world of prog, that it sometimes takes a while to discover even established bands. The enchanting Clann was a real find and will definitely have me digging deeper into the discography of Solstice.