What an appropriate title! Giving new life to an old and dusty classic was such a joy to witness. Solstice appeared on the scene in the heady early post-mortem days of prog, that Orwellian 1984 timeline we all older geezers cherish so fondly, with “Silent Dance” garnering good reviews despite being plagued with rather grainy production values which lowered the ratings. The same situation happened eight years later with “New Life”, even though the material seemed to appeal to both critics and public alike. More silence ensued after the rather dull Circles in 1997, which was then followed by a long 13-year hiatus. The good news is that 2010’s “Spirit” was not only a fine return to form, but all the faulty sound issues were wiped away, seemingly for good as a slew of follow up albums just kept improving the original recipe. From “Prophecy”, via “Sia” , “Light Up” and last year’s “Clann” , all wonderfully entertaining albums I might add, the hoped-for goal was achieved, and recognition for leader/guitarist Andy Glass to finally obtain the recognition patience so richly deserved. The instrumental line-up has remained relatively stable throughout the decades with only the crucial female lead vocal stool revolving, passing the microphone from Sandy Leigh, Heidi Kemp, Emma Brown and finally to Jess Holland. The current band is a seasoned crew, with Jenny Newman on violin, Steve McDaniel on keyboards, drummer Pete Hemsley and bassist Robin Phillips backing up Andy and his vision of folky neo-prog rock. They are all featured on the three live bonus tracks , while the entire remastering of New Life was done with the 1992 line-up. Looking forward to revisit old flames and this one is definitely a hottie! With a fashionable new wardrobe, may I add, as the cover art is breathtaking and drop-dead stunning. I have always considered this album as a one-piece , six-part suite, all the tracks tagging along for the ride.
The utterly charming “Morning Light” communicates precisely what the title so distinctly suggests, a warm sense of feelgood, eyes gently opened, the body functions grudgingly awakening , ready to tackle a new day. The overall instrumental package is suave and sublime , the airy vocals, the shimmering guitar, the soothing keyboards and a restful rhythm applied with blooming gentility. Its only slight drawback is that the experience could have drag on a few more leisurely minutes.
“Guardian” is not only a Solstice standard, but it also very well may be the one track that perfectly represents the band’s inherent values, a shining epic that showcases all the masterful tools at their disposal, such as the tight bass circumnavigations , the no-bones drum thump, combining to give free reign for all the soloists to serve up some world-class British prog-folk. Guitarist Andy Glass has a crystalline electric style that remains unafraid to twinkle or even explode as he does here, allied with a feline violin that coats the entire style with some sass, while the keyboards prefer a more ornamental role. Top that off with some elegant female vocals and the smile of contentment cannot help to escape the confines of a happy face.
Unsurprisingly, “The Sea” just retains the aquatic movement , another magnificent chapter in this New Life remodel, the melody is celestial, a wide expanse where the violin and guitars serenade the coastline, at times emulating the seagulls hovering overhead (that exuberant violin in particular doing some serious flapping!).
The bass guitar is pushed rightfully upfront and center on the title track, a happy-go-lucky romp, laden with incredible positivity and love! “Yeah, hey, hey, hey”, and a scat section that could challenge for a golden buzzer. The fascinating part is that it sounds fresh and uncomplicated, but when one listens to all the various sonic details, the shock factor is tectonic. This is as tight as veteran jazz combo!
The pleasure just keeps on rolling down the “Pathways” , another excuse to flex the jamming jazz intonations, the flamboyant violin as good a companion as having JL Ponty, the Jon Anderson-like add-on vocals à la Yes, a blisteringly series of hot Glass solos that venture into the Saharan caravanserai and plenty of preposterous bravado.
The original album closes with another epic 10 minute “Journey”, and it’s a Heidi vocal showcase that proves that the line between neo-prog, prog-folk and symphonic is a thin scratch in the sand. The melodic qualities are undeniable, very close to either Renaissance or Illusion, as perfectly illustrated on the cascade of lalala-lalala repetitions that embalm this magnificent arrangement, the soaring violin above, the harder guitar keeping all in check. Its just bloody gorgeous.
The newer crew gets to show their mettle with live renditions of “Morning Light” and “Guardian” from 2023 and “New Life” from 2026, staying relatively close to the originals both in sound and timing. This is a professional outfit, a seasoned bunch who take their music seriously. Bands like Mostly Autumn, Karnataka, Magenta, Third Colour Dark, Panic Room and many more owe Solstice surely some reverence, having paved the post-Renaissance road ahead. Not an easy task. If you are into strict labels and the prejudices that come with it or simply prefer depressing gloomy prog (which I also like BTW) with an uncompromising orthodoxy, well stay away from this happy lot. They may make them feel strangely upbeat about a new life.
Just in before posting , Jess Holland has decided to return to teaching, a noble profession if there ever was one. Solstice will surely be returning soon, as it has always managed to realign itself accordingly throughout the decades.
5 solar births