CLANN

The third album of Andy Glass' "trilogy" of his new resurrection of the band Solstice finds his now-steadily-committed collaborators merging in ways that denote both the comfort and fellowship that breeds the overwhelming enthusiasm and joy that comes through with their music (as it does in their live performances). One can only hope that the future of Solstice is as bright as this album would seem to assert.

1. "Firefly" (6:20) everybody's talking about the upbeat, joy-filled, positive vibe, and incredible vocal harmonies of this song--and they're right! All of that to the nines! Plus, a great sound palette and surprising spaciousness to the song with its great synth sound and riffs, great Rickenbacher bass play, and awesome lead guitar solo in the fifth and sixth minutes (paired at its end with Jenny Newman's harmonizing violin). Awesome music, awesome song! Who knew prog could be so uplifting (reminding me of the effect hearing Jon Anderson singing those powerful background vocals on 4Him's hit song, "The Only Thing I Need" back in 1999)?! (9.25/10)

2. "Life" (6:37) another light, positive, life-affirming lyric supported by melodic, easy-to-engage with, even earworm-worthy music and instrumental performances. Great vocal harmonies as well as great harmonic convergence between the bass, violin, drums, guitars and keys. Though these are not exactly super impressive or technically complex prog compositions--not like those that Iona, Dave Bainbridge, Dave Brons, or IOEarth routinely put together--there are definitely similarities to the musics of those bands. The song does, however, build with a far more-proggy intensity and fullness as it goes along--which goes far to making this one of my favorite songs on the album. (9.3333/10)

3. "Plunk" (5:27) a fairly one-dimensional colourless song created, obviously, for the presentation of the message in its lyrics. Kind of funky girl pop. Nice fiery guitar solo with the horn play in the fourth and fifth minutes, relinquishing his hold on the song for the final 30-seconds of girl chorus chanting. (8.75/10)

4. "Frippa" (5:54) following the previous song makes sense for this bluesy rock 'n' roll creation. Female vocals, often delivered in choral form, is supported by rock band with Hammond, active rhythm guitar, and injections of violin in spaces here and there. Again I am feeling as if this more rock or folk rock than prog or prog folk. The synth solo at the four-minute mark helps bring it back to prog territory but the aggressive electric guitar solo that follows the "give up democracy" radio sample is so fiery as to sound more rock/classic rock. It's brief, however, allowing the ladies to step back in to finish the song. Solid and polished, just not my preferred musical style. (8.75/10)

5. "Twin Peaks" (13:51) the prog jewel of the album, it opens with electric guitar arpeggi supporting gorgeous violin melody play before Jess enters singing in a diaphanously-delicate folk voice. In the third minute, the music steps forward as Jess and the Three Graces introduce the "come away" choral chant while Jenny's intimate violin plays her gorgeous melody lines in the next higher octaves. Repeat the verse until the four minute mark when Pete Hemsley's drums and Robin Phillips' thick bass notes finally kick in opening the door for Jess and the Graces to really develop and expand upon their "come away" chant chorus. Then Andy steps up with some brilliant lead guitar mixed right into the "come away" tapestry. So beautiful! And powerful! At 6:30 the music crescendos and slowly fades away as a TD-like synth sequence takes over as the foundational sound. Here is where Jess really shows her confidence as she adds some really passionate, sometimes screaming from the background, more often sing-whispering from beneath--reminding me of Björk--while a few synth-manufactured sounds work their way into the space motif. Then By the beginning of the tenth minute, Jess is spent. That is when African chant vocals enter tied in with tribal-like drum patterns, slowly building force as they attract the participation of the Graces and other vocalists as well as the slow return of the rest of the musicians: bass, guitars, violin. At 11:30 Jess rejoins, taking the spotlight back for a bit with a pleading declaration that triggers a full-on full-band recapitulation of the "come away" chorus and all its wonderful instrumental accoutrements. So beautiful! And powerful! As we enter the 14th minute the "come away" chorus dies down revealing the reappearance of the TD synth sequence to take us out. Like a combination of Karl Jenkins' ADIEMUS with Open Sky-era IONA. Pure beauty and magic. A truly inspired composition with absolutely perfect proportions and performances--especially from Jess Holland--maybe her best performance ever. A song on which I wouldn't change a thing! It is one of prog world's best epics from 2025! (30/30)

6. "Earthsong" (CD Bonus) (7:12) a remake of their 1984 classic (which also appeared as a bonus track on their 2013 "comeback" album, Prophecy), the band really comes together around this beautiful song. I love the lead vocal of Ebony Buckle--especially her duet singing with the violin play of Jenny Newman. (13.5/15)

Total Time 45:11

As Andy Glass has suggested in interviews, this might be the album that makes Jess Holland (and, hopefully, Solstice) a household name. She is definitely deserving of all the praise and accolades that might come her way--and she just keeps getting better! The band's biggest challenge in the future will be the retention of these amazingly talented individuals as their talents become more known and celebrated. (i.e. is Solstice big enough to hold/contain the talents of youngsters like Jess Holland, Ebony Buckle, Robin Phillips, and Dyanne Crutcher). They've already seen the departure of uber-talented Jen Sanin, and Ebony Buckle has her own busy schedule with other bands and her own act with her husband, Nick Burns. Only time will tell, but the young like to spread their wings and fly--sometimes away. Though Clann offers an overall inconsistent fare of delights, some quite proggy and other not so proggy, the overall impression left upon me is one of supremely fine and refreshing progressive rock music.

A/five stars; a masterpiece of uplifting and beautiful progressive rock music that everyone should get to experience: in any or all of the live, video or other recorded formats. Truly, this is one of 2025's shining lights.

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