Spirit

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.