SOLSTICE

After producing only one studio album in the 80s, a couple in the 90s, largely not bothering with such releases in the 00s, and treating us to a couple in the early 2010s, Solstice have put out their third album of the 2020s in the form of Clann.

Did any of you expect that this decade would be the golden age in terms of brand-new Solstice material? I certainly didn't, but Clann finds the group going from strength to strength. Perhaps it's the consistency of the line-up which is the secret sauce which has added a bit more pep to their step, because this is the third album in a row with essentially the same lineup as made Sia, the first of this streak; Ebony Buckle and Dyanne Crutcher have come in to provide additional vocals, but the lead vocal duties still fall to Jess Holland, whose voice has been such an asset over this triptcyh of releases.

What does it sound like? Well, it sound a lot like Sia and Light Up, to be honest - laid-back, Yes-influenced, mellow neo-prog with Andy Glass's guitar work, Jenny Newman's violin, and Steven McDaniel's keyboards providing wonderful textures over the propulsive, tight rhythm section of Hemsley and Phillips. It's not revolutionary if you've been following the Solstice trail this long, but if you're a true believer then you'll probably be glad of more of what the band do best, and if you're new to them, it's as good a jumping-on point as any of their 2020s albums. The band really seem to be getting their flowers at last, and it's grand to see it - proof positive that gentle perseverance and careful quality control can win out in an age of hurry and hustle.

The debut Solstice " Silent Dance" still remains my favorite album by them, although the recent album ' Light up' comes close!

Silent Dance came out in 1984 in the middle of the 'new wave of British progressive rock'. A movement that was later, often disdainfully, referred to as neo-prog. I would not call Solstice neo-prog; they were a bit different. They made a hippy-ish spacey progressive rock with beautiful layered arrangements.

The main influence on this band seems to be Yes. The vocals of singer Sandy Leigh more than often sound like Jon Anderson. An exception is the last track where she sings in her natural voice. Since this track is called ' find yourself' I do no think this is a coincidence.

Its is hard to pinpoint highlights on the album since the songs are off a consistently high quality. Maybe the dreamy and spacey " Earthsong" is my favorite.

Anyway great debut by a very promising band that never really got the recognition they deserved. Maybe they had to sound more like Marillion at the time but they had their own vibe going.

I am in doubt between 4 and 5 stars but 'an essential masterpiece of progressive rock' seems a bit too much praise.

4,5 stars

I have been revisiting the older Solstice releases lately and this one seems to be somewhat undervalued.

Stylistically it is pretty much in the same style as ' a new light' (despite several new band members) but maybe with a little more variety. '

The opening track Salú is a very nice instrumental in the typical hippy prog Solstice style with tasteful guitar playing by Andy Glass. (7/10)

The highlight of the album is the title track. in more upbeat funky style but with a more ambient middle part. This might be one of my favorite Solstice tracks actually. (9/10)

Soul to soul is a decent more ballad style track. Not my favorite but not bad too. (6/10)

Thank you is a little more rockier with a good catchy chorus . Very nice (7/10)

Medicine is another ballad style track with beautiful singing by newcomer Emma Brown. (7/10)

Sacred run is the heaviest track on the album. For the rest typical Solstice, just a bit heavier. (7/10)

Coming home is another instrumental. Andy Glass channeling Andy Latimer. Simply beautiful and melancholic. The other highlight of the album (9/10)

So in all a very solid Solstice album that certainly deserves a bit more attention. But frankly, the whole Solstice catalogue deserves more attention. They are still one of the best kept secrets in progressive rock. For me this scores on average about 7,5/10 so that translate to a 4 well deserved stars.

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.

The exciting return of cult act Solstice in 2020 comes with some excellent new music and a rejuvenated lineup - alongside band leader Andy Glass there are long-time keyboard player Steven McDaniel, Jenny Newman playing the violin, drummer Pete Hamsley, bass player Robin Phillips, and the jewel in the crown of this iteration of the band - new lead singer Jess Holland. 'Sia' is the sixth studio album from the band and perhaps serves as a return to Solstice's original sound - the album offers a very beautiful range of songs, from acoustic ballads to electrifying and passionate folk anthems, full of memorable moments, excellent singing and an overall masterful performance from each band member; the vibrancy of 'Sia' is what makes it a very pleasant, evocative and embracing listen and each song is so heartfelt, melodic and elegant, fitting perfectly the warm and chanty voice of Holland, a quality shared by all Solstice singers.

The entire album is laid-back and intricate, offering sweeping guitars as well as soft and dazzling violins, topped by the splendid vocals. The chant-like quality of the band's music is abundant here, together with a very welcome and colorful rocky feel, perfectly balanced with the folkier leanings of the music. Opening up the album is the 12-minute track 'Shout', a finely written composition that sees a calming middle section framed by the upbeat opening and its coda by the end of the song. This might as well be the best representation of what Solstice stand for in 2020. 'Love Is Coming' is just beautiful, definitely something that could have come from 'Silent Dance' from 1984. 'Stand Up' sounds so good and the production on this track is on par with that of the greats of contemporary progressive rock, while 'Seven Dreams' is a mellow composition that once again offers a tasteful guitar solo, followed by the great 'A New Day' and 'Cheyenne 2020', a re-recording of the penultimate track from 'Silent Dance' with the vocals of Jess Holland. 'Sia' is everything you might need from Solstice, this is a brilliant work that exudes creativity and love, placing Andy Glass and his bandmates among the most exciting prog bands of the decade.

Solstice are one of the important bands of the second wave of progressive rock, formed in 1980 in Milton Keynes and dissolving a few years later in '85, a period in which the band released a sole album - their magnificent debut 'Silent Dance'. The first iteration of the band had been busy with touring and gaining somewhat of a cult status, featuring the talents of guitar player Andy Glass, vocalist Sandy Leigh, violinist and keyboardist Marc Elton as well as bassist Mark Hawkins and drummer Martin Wright, and the music on 'Silent Dance' is a very different iteration of 80s progressive rock (if it even qualifies as prog in the first place), unlike the majority of the UK-based neo-prog bands, with Solstice exhibiting a very organic, folky and esoteric sound that reminisces the works of Yes, Renaissance, or even Curved Air.

The entire album is soaked with this uplifting atmosphere, earthy feel and natural sound that is quite plainly the sound of a band playing its tunes in the studio together. The chant-like and esoteric writing renders each single track on 'Silent Dance' a very tranquilizing, transcending experience that has to be rooted in the tradition of folk rock. At the same time, there is some gorgeous playing all over, with Andy Glass playing several extremely elegant and refined guitar solos and Marc Elton delivering a myriad of soaring, cathartic and purely magical violin sweeps, one of the cerebral flavors of the Solstice sound. Needless to say, the vocals of Sandy Leight fall within the range of Jon Anderson and Anny Haslam, through which the Yes reference becomes inevitable; especially when you hear the warm and melodic bass playing of Mark Hawkins. This band occupies a magical realm, giving us beautiful and evocative songs like 'Peace', 'Sunrise', 'Return of Spring', 'Brave New World', or 'Cheyenne'. Not a Marillion, nor an IQ, Solstice stand on the alternative path of the 80s progressive rock revival, re-discovering the genre's symphonic, dreamy, and peaceful roots - 'Silent Dance' is definitely one of the underrated minor masterpieces of this decade in the history of the genre.

There is little doubt that one of the major surprises in the underground prog scene in recent years is the resurgence of Solstice. Originally formed in 1980, they were one of the leaders of the early Neo prog scene, yet while often referenced by others they never truly gained the success they deserved. This dramatically changed with the release of 'Sia' in 2020, the first album with Jess Holland on vocals, since when they have also released the excellent 'Light Up' and have been a constant on the live scene playing prestigious gigs throughout the land. One of these was their return in 2023 to the famous Cropredy Festival some 25 years on from when they first played there, and now we have the double vinyl release of that show.

The line-up for this was Andy Glass (guitar), Jess Holland (vocals), Jenny Newman (fiddle), Peter Hemsley (drums), Robin Phillips (bass), Steven McDaniel (keyboards), Ebony Buckle (keyboards, vocals) and Dyane Crutcher (vocals) who had replaced Gwen Taylor. Although the singers only joined the band in recent years, the rest of the band were in the 'Spirit' line-up in 2010, and there is also a special guest in Clive Bunker who returns to play "Morning Light" (I know Clive will have played that plenty of times when he was in the band, but Peter Hemsley was the original drummer for 'New Life', but as there was nothing from 'Circles' in the set I imagine that is why they had him in for this one).

Andy is a powering guitarist, still cutting through the rest of the band, while in Jess they have a wonderful lead singer, and the use of three-part harmonies is now an integral part of their sound. The fiddle provides cut through when the time is right, the keyboards provide the backdrop for the others to rest against while the rhythm section provides the foundation, the result being a modern progressive rock band who just keep going from strength to strength. Cropredy is my favourite festival as it always has such a wonderfully diverse and powerful set of acts from folk through to progressive, and there is no doubt the crowd were hugely receptive. In front of 10,000 people Solstice demonstrated that more than 40 years since their inception they are growing a new fanbase, and this album shows just how good these guys are in concert. The old material has been given "new life", while the new material is heralding in a "brand new world" as the Solstice of old has transformed into the Solstice of now and long may they continue.

On September 2nd, 2023, Solstice sold out the iconic venue built by jazz legends Sir John Dankworth and Dame Cleo Laine in 1970, something they view as a career highlight. The night was recorded and is now available as a full concert film (plus photo gallery) or as audio, and it is this which I am now playing. The band are the same as the previous two studio albums, namely founder Andy Glass (guitar), Jess Holland (vocals), Jenny Newman (fiddle), Peter Hemsley (drums), Robin Phillips (bass), Steven McDaniel (keyboards) plus two additional singers in Ebony Buckle and Gwen Taylor. Apart from the three singers, this line-up has been together for some years, having released 'Spirit' in 2010.

It is now 40 years since 'Silent Dance' came out, although I must admit to not hearing it until 10 years later, after I had already reviewed 'New Life'. Solstice are included on ProgArchives as Neo due to where they have come from, but if they were up for inclusion now I can see there being a battle with Crossover, as the band has in many ways moved from what they were and created a sound quite unlike any others in the scene. The fiddle has always been an important part of the music, and Jenny knows when to take the lead or when to take a break, the keyboards are often a backdrop as opposed to a driving force, while the same can be said for Andy who is more than happy to take a back seat at times, riffing hard at others. The whole band is designed to keep the female vocals front and centre, bringing in prog, pop, rock, folk and other influences to produce a highly polished performance. Jess is a real find, being a real performer as well as singer, and having two others with her to provide vocal harmonies in a live setting allows for more passion and depth.

We have been fortunate enough to have two studio albums, from the same line-up no less (which is somewhat unusual for the band) and given the way they are playing some high-profile gigs let us hope they have enough time to record another one soon. This is a wonderful demonstration of great prog from a band who for some strange reason have never really been given the acclaim they so richly deserve. If you are already a fan then I am sure this is in your collection, and if not then now is the time to investigate given the band have made this available free of charge so that even more can discover the great sounds of Solstice.

Light Up is a fine album by the veteran Milton Keynes band and a great improvement over Sia, their last recorded effort. This is because the band have struck up a balance between the song's music and the impressive vocals of singer Jess Holland. A balance that I felt was missing last time around, in favor of showing off Holland's vocals at the expense of music that one could sink their teeth into.

That feeling returns on Light Up, with band leader and songwriter Andy Glass displaying his exiting touch of shredding guitar leads mixed with exquisite melodicism as only he can do. Fiddle player Jenny Newman is in more of a support role this time around as is keyboard player Steven McDaniel, but both add depth and layering to the songs that help convey dramatic moods and flights of fancy. Pete Hemsley and Robin Phillips, on drums and bass respectively, are still far from my favorite rhythm section in prog but they do rise to the occasion this time around. Especially on the near Motown rhythms of "Wongle. No. 9", an R&B like gem with good old fashioned call and response vocals from Miss Jess. An album highlight, as is the optimistic opening title track and the Glass guitar tour de force of album closer "Bulbul Tarang", which is a type of Indian stringed instrument heard at the beginning of the song. "Run" and "Home" are excellent prog workouts with lyrics that focus on the beauty of home and are the bands celebration of it, be it "home" in whatever sense the listener conceives from the expressive music and vocals.

Solstice may be looked on as a second string 80's derived neo-prog band behind such heavy hitters like Marillion, IQ, Pendragon and the like, but that's down to musical short sided-ness, I'm afraid, because they really deserve to be on every neo-prog fan's playlist. 4 stars.

This is the seventh studio album from Solstice (if you don't count the Cropredy Set, which was a live-in-the-studio runthrough of a set previously played live), and the second to feature Jess Holland on lead vocals. Andy Glass, of course, has been in the band since beginning; Robin Phillips, Pete Hemsley, Jenny Newman, and Steven McDaniel round out the group in roles they've held since 2010's Spirit.

Next to Sia, this is pretty much business as usual for Solstice; whether that's a good thing depends on how much you enjoy their usual business. For those who want their prog rock to be raucous, highly complex, and very intricate, it may come across as sleepy and simplistic, but for my part I quite like their placid combination of a New Age sense of wonder and tranquility, prog musicianship, and just enough folk to glue the two halves of their sound together. As with Sia, it's another release from a long-serving band who haven't been all that prolific (they've put out seven albums in some 40 years or so), but are at least consistent.