CLANN

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.

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 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.

Proud owner of all eight studio albums, this veteran band proves the famous adage that time waits for no one, having launched their career in 1984 (hi, George!) with the still lovely after all these years "Silent Dance" release. Then came "New Life" in 1992 and "Circles" in 1997. With guitarist Andy Glass leading the band through a bevy of altering lineups, including the brief presence of the celebrated Clive Bunker on that final recording, the band suddenly found itself at a crossroads , unable or unwilling to fight o, desperately in need of a reflective pause and resource some creativity. Thirteen years went by in quiet anonymity, Andy gathering around him players that still form the band today: sensational violin and viola player Jenny Newman, Steve McDaniel on keyboards as well as the perennial rhythmic duo of Robin Phillips on bass and drummer Pete Hemsley. The album "Spirit" not only reignited their career but was a wonderfully solid progressive album that excited the prog world immensely. From the whopping opening tune in "Salomon's Bridge", to the epic title track, their redefined sound lit quite the fire, that continues to this day. Four more gloriously tasty albums followed, the stupendous "Prophecy" in 2013, the lush 2020 "Sia", the luminous "Light Up" in 2022 and now "Clann" in 2025. The latter three albums feature the lovely and talented Jess Holland on lead vocals and complete the Sia trilogy. All that patience and hard work has paid off handsomely, as Solstice reigns supreme in the prog world, love by critics and fans alike for their resolute courage in believing in their craft! Their concerts are ebullient affairs full of positive feelings , a trait desperately in need of today.

"Firefly" spirals like glittering insects in the early evening darkness, providing electric excitement, a smooth 'light up' groove that would embolden even the dourest of souls, Jenny' violin fluttering mightily, the vocals from Jess Holland this side of gently seductive , a solid bass and drum foundation, colored by McDaniel's keyboard pastels . And here is what makes this band so special, everything displayed is deliriously smooth and velvety , until Glass enters the fray boldly, very much like Carlos Santana in his heyday, taking over the arrangement and making his guitar soar and emote like no tomorrow. A folkier side of Camel, mixed with some incisive axe manipulations.

Keeping the upbeat positive vibe, the shuffling and breezy "Life" comes across as a complex simplicity, interwoven grooves that eventually build up into more atmospheric pools of reflection, learning to breathe and enjoy the ride. When the symphonics kick in with the violin/viola led orchestrations, it is clear to anyone that this piece is exceptional. Glass launches this into a restrained shadow with a slow-paced crescendo before reverting to the original expansive pace. The harmony vocals from Ebony Buckle and Dyanne Crutcher only adds to the joy.

Deciding that having fun is always a good thing, the brassy funk-rock of "Plunk" comes as a bit of surprise, very addictive with clever lyrics and a very urban American style, sunshine warming the air. Glass delivers an almost Holdsworthian flurry of notes from his screeching guitar , backing vocals in full tow, including some chanting choruses at the end. Surely fun in a live setting !

From Funky town to Bluesville, "Frippa" is not an homage to the Crimson King but a rock song full of choppy riffs, stop and start pacing, rippling Hammond bursts , a swirling violin and impressive vocalizations from Jess and the girls. A synthesizer solo a la Foss Patterson (Camel) takes briefly over, before Glass goes ballistic on his fretboard with a blistering fireball of notes, another violin spot for Jenny to shine on , and all converge to the fold for the finale.

"Twin Peaks" is not only the final piece but also an epic 14-minute jewel that crowns this album with high marks, as it's a stunner! The first three minutes are an introduction to a shimmering celestial portal, where acoustic guitars, exquisite violin and divine vocals coexist in complete adoration. A breathtaking melody helps the cause. The repeated 'come away' chorus from the feminine trio is a soothing balm of panacea that seduces profoundly, taking this second level even higher. Andy kicks it further up the ladder, with an emotive display, all sense and sensibilities. With a third variation being an electronic transition that defies expectations, the dreamy echo of a pained voice amid the bubbly synths becomes another moment of bliss. The fourth level introduces a nearly Oldfieldian vocal feel, genuinely intoxicating and hypnotic, taking the listener to another galaxy, with drums beating in the valley below. The circle is complete with the glowing reprise of the main 'come away' melody, and I must say, if this leaves anyone indifferent, and ear doctor (or in proggy terms, an otolaryngologist) would be of great benefit. Fluffy synthesizer clouds put this incredible piece to bed. I am on my knees, in reverent fulfillment! This final track will surely go down as one of the most intriguing and beguiling pieces of 2025, hands down. 4.5 tribes