PROPHECY

1. "Eyes Of Fire" (8:52) beautiful atmospheric keys with distant aboriginal chants open this before acoustic guitar plays arpeggi to get us ready for the gorgeous voice of lead singer Emma Brown. The vocal weave that slowly builds around Emma's lead is even more gorgeous. At 6:00 electric guitar begins a loud, slow solo which kind disrupts the Eden-like mood previously established. What is the band (Andy Glass) trying to say with this? Rock drums and bass join in as Andy wails plaintively, effectively emotional. Piano gets the next solo to finish gently. Beautiful. (19/20)

2. "Keepers of the Truth" (8:14) organ and strummed guitar are joined by "fiddle" and female vocals in a folk rock sound palette. Kind of a standard, dated song style, melody and sound. I do appreciate the less-is-more treatment of the tracks--everything is recorded in a kind of analog-sounding way rather digitally "perfected." Another surprisingly forward electric guitar solo begins at the three-minute mark and continues for 90 seconds before giving way to Herbie Hancock-like synth. Nothing very new or refreshing here--unless you're nostalgic for a 1970s hippie fest--like something from MANTRA VEGA or MOSTLY AUTUMN. (13/15) 3. "Warriors" (17:33) interesting polyphonic weave is slowly established before full prog rock walls of sound and Native American-sounding ulullating chants take over. Settling down into a more spacious weave Emma Brown enters singing in a kind of prayerful way with long, drawn out syllables, all. An instrumental section ensues with some nice soli from fiddle and electric guitar while rhythm section maintains its rather simple and straightforward (kind of boring--especially the bass) foundation. A bit of an Allman Brothers feel in the jam during the twelfth minute before everything stops and switches direction, establishing a slower, more folk spiritual style (that sounds a lot like some of the whole-troup chorus vocals from the musical Godspell or else from the ensemble cast of Polyphonic Spree or some other Southern white gospel choir). Multiple tracks are devoted to Andy's wailing electric guitars as they solo above, beneath, and within the choral vocals. Despite all the prolonged themes of the three sections filling these seventeen minutes, the song ends faster than expected. (30.5/35)

4. "West Wind" (11:05) soloing steel-string acoustic guitar over gently wafting synth washes and, later, beautiful Fender Rhodes play open this song for the first 2:15 before Emma enters singing in a gentle, soothing voice. Lovely and hypnotic. The lyrics seem to convey a naturistic message that is more associated with Celtic Prog musical traditions--which is, interestingly, fully borne out when Celtic instruments, organ, and then, heavy guitar and violin riffing join in. The vocals turn choral as the tension in the music builds. Now we're definitely in the Folk Rock territory pioneered by bands like Curved Air, Iona, Jethro Tull, and even the Strawbs. The power of the instrumentalists is matched and mixed quite perfectly with that of the choir. Andy Glass' searing guitar is supported quite nicely by the work of fiddler Jenny Newman and keyboardist Steve McDaniel. At 9:30 the tension is broken and we return to the dreamy Fender Rhodes-supported vocal section as in the opening. Great song! (18.5/20)

5. "Blackwater" (10:52) low electric guitar arpeggi establish a portentous, even ominous mood before joined by fiddle and drums. The drums are quite showy for the first 90 seconds before the rest of the band is welcomed into the mix. A somewhat Middle Eastern melodic theme is introduced--which then morphs into a kind of Hendrix- familiar motif by Andy's wailing electric guitar, but then he quickly gives it up for a kind of weave like a Celtic reel. The Hendrix motif returns in the fifth minute before giving way to a piano-based motif over which Emma eventually sings in a powerful, aggressive almost Annie Wilson way. Powerful. This is not what I was expecting from Solstice, but it really works! I am truly impressed with the versatility of Ms. Brown. At 7:05 the tempo slows as Emma switches to the long-drawn syllable approach to her delivery (as in the first part of "Warriors"). Man is she effective with this approach! And the band's weave in support is absolutely perfect! So powerful! And emotional! The smooth jazzy piano in the tenth minute is just icing on the cake as Emma soothes and comforts us with some soft background words repeated within the weave of electric guitar chords and fiddle play. Piano carries forward Emma's final melody line to the finish. Wow! I am moved! My final top three song on an album of very powerful music. (19.25/20)

- Bonus tracks (Steven Wilson re-masters): 6. Find Yourself (6:15) 7. Return of Spring (7:24) 8. Earthsong (6:32)

Total time 77:18

A-/five stars; a minor masterpiece of progressive rock music--and a real treat for any lover of Prog Folk music.

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