CLANN

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

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