LIGHT UP

I'm not really sure what there is left to say about one of our most iconic and unique progressive rock bands, as for more than 40 years they have been following their own path, guided as always by guitarist Andy Glass. It is strange to think that new album 'Light Up' is following on very quickly from 'Sia", and with the same line-up, both of which are unusual for Solstice. However, the line-up has been stable for quite some time with only singer Jess Holland not appearing on 2013's 'Prophecy'. The artwork is again by Shaun Blake who painted 'Sia', and it makes sense to have the same person involved as in many ways this is a continuation of that album, except here with even more of a concentration on the vocals. Musically there is much on here which could be thought of as prog folk as opposed to the neo tag they are often given, with a depth of thought and complex arrangements which contain a great deal of space within.

A violin has always been a keen element of their sound, but here it is used sparingly so that when it comes in it has even more dramatic effect, while the same is also true of Andy's delicious guitar breaks. When he pushes himself to the fore it changes the direction and momentum of the music, while the rhythm section keeps it tight and allows him room to move. The keyboards are often quite simplistic in comparison, allowing the others to weave the melodies while they often operate as a backdrop. It is nice to see that the album is a "proper" length, i.e. it will fit on one side of TDK-90 tape (if they are still made). Back in the "old days", 45 minutes was seen as an optimal length for pressing purposes, but the advent of CDs allowed that time to move to 75 or more, meaning some bands overstretched themselves when judicious editing would have been useful, but here we have a distillation of all that is good and wonderful about Solstice. This is refined, enjoyable and pleasant music with a rougher edge when the time is right, always with the focus on the vocals.

I have been fortunate enough to have been sitting with this album for some time, and it really is delicious with wonderful arrangements which invite the listener inside to sit down and rest a while. It is one which repays repeated plays as the more one listens to it the more there is to discover with some gorgeously understated moments from all involved, all ensuring they are doing everything they can to put Jess front and centre. There has been a resurgence in activity from Solstice in recent years, who have also been making live albums available to their fans, and there is no excuse whatsoever for discovering the wonderful music of one of our finest bands. It will be released on January 13th through GEP.

There are some enchanting videos available, where you have the possibility to follow them, while they are recording some of this songs in the studio. The title track for example. It's worth it to have a search. There you can get a valuable impression what concentration was necessary, but also how much fun they had in the same way. Very enlightening. SOLISTICE are more or less headed by guitarist Andy Glass. Relatively new to the fold though, since the predecessor album 'Sia', lead singer Jess Holland turns out to be a new face of the band. Light up and get up, the six new songs are provided with much melody and proper dance appeal. The lead and backing female vocal arrangements are a special strength, always delivering a warm and charming atmosphere.

Exquisite songwriting throughout. Every track given here bears a special flair, and let's say tension. What probably may sound rather innocent in the first place evolves to a thriving experience sooner or later. At some point the initiating title track Light Up sees Jenny Newman and Jess Holland taking off the violin respectively acoustic guitar. Now immediately some deep folk feel is coming up. Wongle No. 9 then is showcasing the funky rhythm section comprised of Robin Phillips (bass) and Pete Hemsley (drums). Mount Ephraim initially transfers us to a party taking place in an Irish Pub or so. Delivered by Andy Glass several inspired and crystal clear sounding guitar solos are putting the cherry on the cake. If you will have the possibility to see them live on the stage soon, lucky you!

This is the seventh studio album from Solstice (if you don't count the Cropredy Set, which was a live-in-the-studio runthrough of a set previously played live), and the second to feature Jess Holland on lead vocals. Andy Glass, of course, has been in the band since beginning; Robin Phillips, Pete Hemsley, Jenny Newman, and Steven McDaniel round out the group in roles they've held since 2010's Spirit.

Next to Sia, this is pretty much business as usual for Solstice; whether that's a good thing depends on how much you enjoy their usual business. For those who want their prog rock to be raucous, highly complex, and very intricate, it may come across as sleepy and simplistic, but for my part I quite like their placid combination of a New Age sense of wonder and tranquility, prog musicianship, and just enough folk to glue the two halves of their sound together. As with Sia, it's another release from a long-serving band who haven't been all that prolific (they've put out seven albums in some 40 years or so), but are at least consistent.

Britain's gift of melodic positivity returns with another polished masterpiece of engaging and uplifting prog lite.

1. "Light Up" (5:39) great up-beat syncopated rhythm track with lots of prog sounds and great harmony group vocals over the top singing in their usual life- and love-affirming messages. I love the interplay in the fifth minute between Jenny Newman's violin and Jess Holland's wordless vocalese followed a similar interplay between Andy Glass's lead guitar and Steven McDaniel's organ in the final minute. Awesome! (9.125/10)

2. "Wongle No. 9" (7:14) Funk! Sounds like Leonid And Friends or Orgone/Say She She! There's that kind of joy and enthusiasm exuding from this music! The guitar and keyboard work from Andy and Steven sound so emotional and heart-felt--as are the amazing vocal performances from Jess Holland and her three Graces (Ebony, Jen, and Jenny, otherwise known as Aglaia [Radiance], Ephrosyne [Joy], and Thalia [Bloom]). Amazing song that holds its engaging energy from start to finish. (14.75/15)

3. "Mount Ephraim" (5:59) back to some folk roots with some acoustic violin leading the way, but then the rhythm section shoots in the funky undergrowth and we have more joy-dancing music to get excited for. Despite nice solos from Andy, Jenny and Steven the song never reaches another gear (which would have to be overdrive) nor offers much in the way of interesting diversions--but it's still so solid--so good! (9/10)

4. "Run" (8:14) endless reverb on several well-spaced opening electric guitar chords remind me a bit of Chirs Isaak or John Martyn. Jenny's plaintive electric violin and programmed drums join in before Jess enters singing in a delicate-though-passionate vocal. Beautiful. I'm reminded a bit of Jane Siberry and Sarah MacLachlan as well as IONA's Joanne Hogg. Such a beautiful voice. At the five-minute mark the drums, bass, keys, and violin kick in to support an instrumental passage. It's heavier and more insistent in its melancholy than the vocal section with Andy Glass's powerful lead guitar rousing our emotions from some lower and mid-range noteplaying while Jess and The Graces slowly creep into the mix with increasingly-more-prominent choir vocals. (13.75/15)

5. "Home" (6:42) this one definitely sounds as if it comes directly off of an IONA or Suzanne Vega-like album. Very nice music to support Jess Holland's typical stunning vocal performance. Please, let's not let ourselves grow accustomed to this amazing vocalist's extraordinary talents! Nice violin and keyboard doubling up in the second half of the fourth minute. Nor should I let an entire album go by without extolling the solid performances of the Robin Phillips-Pete Hemsley rhythm section: their contributions are so flawless that you're prone to want to take them for granted, yet the music would not/could not be this good without their professional performances. By no means is this a weka song, it's just not quite as powerful or (8.875/10)

6. "Bulbul Tarang" (10:24) an exposition of absolutely perfect prog fusion: here taking a page from the George Harrison playbook with the cooption of some Indian themes, bringing them into an ascendent/transendent Jon Anderson/Yes-like form and style using the rich textures of their prog sound palette in cooperation with the extraordinary vocal talents of the entire cast and crew. (The live in the studio video version of this is quite extraordinary--perhaps even better than this version because it is so spirited.) Heart-wrenching performances from Steven McDaniel (on piano) in the sixth minute with the incredibly-delicate choir vocals behind him. Wow! I'm in tears! Then we get some first-rate lead guitar work from Andy Glass before the gentle choir vocals return to lull us into peaceful bliss before everybody steps up to blow us away with some whole-group power the likes of which is oh-so-rare in art. Then Andy's even-more-impassioned guitar licks and more BIG vocal bursts to take us to the end. Amazing finish to an amazing musical experience. (19.125/20)

Total Time 44:12

Though it may be common that a song or lyric can help elevate or transport the human spirit, it is rather rare that a whole album can achieve this. I'm not going to say that I feel blissed out the entire time I listen to this album, but a lot of it--and certainly a lot more when I watch the in-studio video releases of these songs. Even the live on-stage versions have some of this effect on me.

A/five stars; an unequivocal masterpiece of uplifting prog rock. HIGHLY recommended--especially to those who like an occasional injection of numinous light into your life.