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