SOLSTICE

Keepers of the truth

More than 30 years after the band's formation, Solstice has created what is in my opinion their best album to date. Prophecy--the band's fifth studio album--consists of five tracks (with no breaks between them) that all in all run for just under an hour. (In addition, there are three bonus tracks which are older Solstice tracks remixed by Steven Wilson.) The album revolves around a concept or theme that wisely is never allowed to overshadow the great music. The comic book-like artwork by Marvel artist Barry Kitson provides an appealing visual aspect. The lyrics and the artwork complement the music well making for an organic unity.

Eyes Of Fire opens the album in a rather low-key fashion and on my first listen I worried that I was in for a sleepy experience. But instead this builds up nicely to a guitar solo and leads the way to the much more energetic Keepers Of The Truth and onwards to an exciting and progressive journey. The vocals are often Yes-like with the female lead vocals of Emma Brown being backed up by male harmony vocals in a way that strongly evokes how Chris Squire and (to a lesser extent) Steve Howe characteristically back up Jon Anderson in Yes. Even some of the New-Agey lyrics remind of Anderson's lyrical style and some acoustic guitar parts remind of Steve Howe's acoustic playing. The electric lead guitar playing of Andy Glass instead often evoke (his namesake in Camel) Andy Latimer's wonderful sound. The many violin-driven passages often remind me of Kansas.

With Yes, Camel, and Kansas belonging to my personal all-time favourite bands, being reminded of them here is a blessing for sure and a basis for commendation. But I also wish to stress that Solstice are by no means just followers, they have a sound of their own that also draws on Folk and Jazz music in ways foreign to the above mentioned Prog giants (and the New-Agey/World-Music 'feel' of the music is, if not unique, at least somewhat unusual; perhaps Mandalaband can be mentioned in the context). Solstice has certainly inspired hordes of female-fronted progressive Rock bands of more recent decent. They are often counted among the pioneers of the British Neo-Prog movement, but in reality they have close to nothing in common with the usual suspects of that subgenre (Marillion, Pallas, IQ, etc.). Solstice is somewhere in the borderlands between Neo-Prog and classic Symphonic Prog. The keyboard sounds may be modern, but the mind-set is closer to that of classic progressive Rock.

The three bonus tracks are remixes by Steven Wilson of three tracks from Solstice' 1984 debut album Silent Dance. The latter is a very good album as well, but hearing these tracks straight after the new tracks just stands to emphasise that these songs are better heard within their original context (new remixes notwithstanding). If you don't know Solstice yet, starting with Prophecy is a good idea, and the three bonus tracks (when heard in isolation from the new material) should make you curious about Silent Dance and the band's other albums. Solstice is a great and unfairly overlooked band well worthy of your attention.

Highly recommended!

Silent Dance is a rara avis in my collection of records. Usually, the albums that I loved at the first listen remain well-loved for a long time. Sometimes an album will grow on me, as I give it and myself enough time to do so.

Silent Dance is different; it managed to grind itself down from mildly "interesting" to "irritating". I have played it in every one of the 4 distinct listening modes (hifi, background music, CD in the car and thru headphones), and couldn't pick a single flattering one: all modes sounded precisely 1.5 stars out of 5.

One of the problems I have with this album is what I'd call "instrument abuse". The guitar is too much in-your-face in places, like you'd have in Mahavishnu Orchestra ... sans the trademark virtuosity.

There is also too much of relentless, tireless, almost obnoxious fiddling. I hasten to state that I often enjoy the violin in appropriate circumstances and in correct amounts - be it Irish folk, country, J-L. Ponty or classical (right at this moment we are listening to the most excellent La Quattro Stagioni).

My other problem is with the scarcity and the repetitiveness of the melody lines. Yeah, yeah; concept albums are great, but you can't play variations on the same unremarkable motif for 40+ minutes?

Then, there is another difficulty to cope with - the odd vocals by a female singer, who came close to reproducing the high-pitched screech of Jon Anderson of yore (whether on purpose or by accident). No, dear friends, I do not think she sounds like Annie Haslam .. Annie had the voice of an angel. No angels or such celestial beings have been spotted singin' anywhere near this Solstice album!

I wasn't impressed by the musicianship either, and the sound quality is patchy. To be fair, sometimes the album provides a much-needed respite for the weary listener in the shape of a sparsely placed tasteful and graceful musical passages.

I'd probably smack this poorly made album down with 1 star, but, in recognition of the surprisingly impressive album art, it's going to be a 2/5.

In 1985 Solstice unfortunately broke up with their mastermind Andy Glass working for several years as a session musician for Bill Withers and Geno Washington and as a sound engineer on Jethro Tull tours.However a second reincarnation of Solstice appeared in early-90's only with Glass and violin/keyboard player Marc Elton from the 80's line-ups.They were joined by female singer Heidi Kemp, bassist Craig Sunderland and drummer Pete Hensley and this five-piece recorded the second album with the iconic title ''New Life'' in 1993.

Despite the almost 10 years hiatus Solstice sound a lot like on the band's early years, albeit with a more modern sound.This is smooth, often melancholic but highly melodic and balanced Progressive Rock with dreamy female vocals and strong references to British Folk through Elton's ethereal violin parts.Cross references with bands like MOSTLY AUTUMN, KARNATAKA or MAGENTA and artists like MIKE OLDFIELD or COLIN MASSON are more than obvious.Elton's violin work is mostly fascinating and alternates between folksy passages and Classical-influenced workouts, superbly supported by Glass' spacey guitar solos, somewhere in the middle of 90's-styled ANDY LATIMER and DAVID GILMOUR.New vocalist Heidi Kamp has such a crystal color in her voice, turning it from calm singing to dramatic expressions ans is more than welcome.For once more the keyboards remain in the background, supporting the whole atmosphere.The compositions have an ultra-strong sense of melody throughout with good vocal parts, maintaining their artistic value always at a high level and scanning a lot of territories like Melodic Progressive Rock, Folk Rock, New Age and Symphonic Rock.

This is a very strong comeback for Solstice with the Glass/Elton duo keeping their inspiration throughout the lost decade and returning with a fresh and highly enjoyable release.An interesting edition by FM Music appeared in 2007, including a second disc with various demo and bootleg recordings of the band from the 80's and it is of course more than recommended.If you are a fan of the aforementioned acts, Solstice's ''New life'' is impossible to leave you unsatisfied...3.5 stars.

Solstice was mentioned by Jerry Lucky in one of his progressive rock guides as a significant neo progressive band to set an example for many bands to follow. So high time to explore at least one of the studio albums by the band. And I don't think I picked a poor or even mediocre one with this "New Life" output from 1993.

Solstice trademarks are screaming guitars and (almost folky) violins accompanied by several female singers through the years. On this album it's Heidi Kemp featured as an important factor in the band's sound. If I tell you this info is completed with the style highly melodic music I think I just about covered the whole story of Solstice, at least with this New Life release.

It leaves us with my personal feelings about the album and those are very positive. I can't understand why this second release by the band is so underexplored and so low rated. It could be in the end I'm the only fan of this album. If so, so be it and it's actually a pity. Because it would mean highly melodic neo prog is not very popular. And that's regrettable really. Maybe I can bring the band some comfort by giving a well deserved four stars. Recommended !

Solstice is one of those typical second tier prog bands that have been around for a while (it was formed in 1980, well past the already buried golden era) , releasing albums occasionally to satisfy some inner pledge of resistance to the fluctuations of the music market . Leader and superb guitarist Andy Glass cut his teeth as a Jethro Tull engineer as well as live lead guitarist for Bill Withers, the Temptations and bluesman Geno Washington. Let it be stated for the record that Andy Glass is a stunning fretman with impeccable technique and a rather unique style that transcends the usual suspects. His main outlet has been Solstice, a folk/neo prog group that has made an impact in prog circles with tasty albums such as Silent Dance, New Life and er? the less accomplished Circles! What makes this such a deal is the inclusion of a live DVD disc showing off their live talents, great idea as older compositions such as Cheyenne, New Life, Brave New World and most of this new album are now visible to the unbelievers.

The mood is immediately seductive on the shifting nearly 10 minute opener "Salomon's Bridge", a sensuous acoustic flurry beckons the violin forward, played by the ravishing Jenny Newman, as the keys, bass, drums and growling guitars suddenly enter the melee. Andy pulls on the strings a la Holdsworth , displaying an obvious genius in expressing himself with the guitar. Emma Brown's vocals are effective but frankly nowhere near the breathless qualities of fellow Brits Olivia Sparnnen of Breathing Space/Mostly Autumn, Karnataka's Lisa Fury or Joanna Hogg (okay, she's from Ulster!). Mention must be made of Pete Hemsley's rather superlative percussive work, a giant drummer at work here. "Sky Path West" is another longuish yet stellar track, arguably the strongest moment here, a rumbling Robin Phillips bass-led romp that exudes happiness and joy (near Mahavishnu /Santana territory), Glass really playing fondly on his axe, the fiddle sticking to the theme (fiddlesticks?). I mean , this is good stuff!!!!! "Freedom" is marred by some narrated political mumbo-jumbo that offers nothing new (empirical corporate fascism will never go away regardless how hard you try to revolutionize the world). "Flight" is a towering riff-laden journey that jets through the aural skies with serious hints of jazz-rock, some scat-vocalized "doo-ahhs" that are actually quite nicely pulled off. Steve McDaniel's snarling organ duels effortlessly with Andy pyrotechnical fret massages, a tremendous piece that rocks and fizzes. The mood needs to calm down and does so with the splendid Celtic-drenched "Oberon's Folly", the quintessential anguished plea of a troubled soul, giving Emma the platform to show off her hypnotic pipes on part 1 "Puit d'Amour" (Well of Love) while part 2 "Lady Muck" is entirely devoted to the wailing agony of Jenny's inspired violin. She is one hell of a fiddler on any roof! This piece sort of consecrates the essential qualities of this pleasant album, easily Solstice's finest moment. The voluptuous "Here & Now" simply continues on the folk/symphonic/ neo prog road and offers up a slight Middle Eastern tinge that is totally appealing. The raging guitars in particular are uniquely disturbing in tone and technique, while the fiddle screeches in the sandstorm orchestrations. The disc bows out with the epic title track, a dozen minutes of image-laden musical acrobatics that encompass the entire gamut of Solstice's credo, an adventurous, ingenious and talented expression of progressive rock symphonics. A mid- tempo spiritual tapestry with sitar-like twangs, a serene synth solo, sweet ethereal vocals and groove backdrop. Smooth and relaxed, almost effortless, baby! Andy gets to explore his Carlos Santana fantasies and spew all over the place, a huge technical solo that will scatter the leaves between your ears.

As for the DVD, it provides a glimpse into the world of musicians who are in it for the pleasure and not the fame (read money), a talented crew of musicians who defy the trends and do their thing brilliantly. Oh, and they are enjoying themselves too?.. What a sight, what a sound. This deserves being in any progfan's rotation. 4.5 gin and tonics, screwdrivers , cuba libres, scotch and waters.

That's the spirit

Solstice is not a very prolific band with only four studio albums to their credit even though the first of these (and still the best) was released already in 1984. Spirit is their forth and latest album to date and it arrived some 14 years after the previous Circles album. While an improvement over that album, this is not quite up to par with the first two Solstice albums. The line-up of the band is radically different, but leader Andy Glass is still here as well as vocalist Emma Brown. The style is still recognizable Solstice, however, with its mix of Symphonic Prog, Jazz-Rock and Folk Rock with some New-Age "spirit" and World Music elements thrown in.

This album also comes with a DVD featuring a full live performance of the band from 2009. And though the studio disc is not entirely convincing on its own merits, the addition of the DVD to the set makes this release a worthwhile one. The studio disc opens with Solomon's Bridge, a rather long number that takes a while to get off the ground. It would have been wiser to open the album with Sky Path West which is significantly better and even up to par with the best Solstice tunes from previous albums. The fiddle has a more folky sound than the symphonic violin sound (think Kansas) found on previous Solstice efforts. This makes for a nice touch. Andy Glass is on fire on the guitars. The vocals of Emma Brown, on the other hand, are merely acceptable, but somehow lack something. Even if there are lots of vocals on this album, the overall feel of the album is as if it was an instrumental one.

Freedom is a rather annoying, political song with a long spoken word section encouraging the people to resistance against tyranny. While I agree with the message it does not fit the albums relaxed feel. Flight is better and features some very appealing, and surprisingly heavy, passages. Oberon's Folly also has some great folky passages as does Here & Now which is another good one. The closing title track is a bit too long for its own good though and left little impression on me.

Overall, Spirit is a rather decent album that will certainly appeal to the fans and followers of the band. With the addition of the live DVD, it becomes a worthwhile addition to any Prog collection, but by no means an essential one.

The DVD features songs from the band's whole career, performed by the current line-up in a smaller club. It is hardly an excellent show, but both the band and the audience seem to have a good time.

Difinitely one of the best albums in 2010

Hearing through the album just by one time, I quickly realized that this album is one of the best this year. I had the same experience when I heard Karnataka's new CD. Guitar sings very melodic and so does violin (fiddle). Female vocals are beautiful as expected. There is almost no killing-space track.

Overall, the impression is something like = (Renaissance + Camel + D.Way's Wolf) / 3

This music suits the night in autumn, so it is time now for me to listen to this CD and relax in my entertainment room on a long night.

The right to celebrate

The title track of this album provided me with something of a history lesson. The song is based on an event that took place at the Stonehenge Free Festival in 1985 that apparently has become known as 'the battle of the bean field'. According to Wikipedia, whilst the full account of events remains in dispute, a court judgement six years later found the police guilty of wrongful arrest, assault and criminal damage as they attacked the seemingly innocent festival goers. It is unclear whether the band members where actually there that day.

The music of Circles is similar to the previous two Solstice albums even though the line-up changed once again. Each of these three albums had a different lead vocalist and this time Emma Brown replaces Heidi Kemp and the drummer on Circles is none other than Clive Bunker of Jethro Tull fame. The rest of the line-up remained stable with guitarist Andy Glass, violinist Marc Elton and bass player Craig Sunderland. Solstice is not a very prolific band as they have recorded only four studio albums throughout their 30 year existence (including the most recent one being released this year). Once again, band leader and composer Andy Glass has a good band backing him up, but for the first time there are no keyboards.

Circles is, as noted, the third Solstice album coming three years after the previous New Life and some 12 years after the debut, Silent Dance. It is interesting how similar these three albums are in sound given the distance in time between them. The band seems to be living in a vacuum, seemingly unaffected by changing trends. Whatever else you might accuse Solstice of, you can hardly accuse them of compromising their musical vision for popularity. They seem to have opted for a rather 'timeless' sound that clearly draws on the classic Prog-era without ever coming across as a 'retro' band. Having this said, the present album is a bit less flashy compared to New Life and the Jazz-Fusion influence is mostly absent here in favour of a more relaxed sound. Circles is an enjoyable listen for sure, but the music seems to just 'float' by without demanding your full attention. Before you know it, the album is over and you are left without any strong emotions. It is possible to listen to this music, but mostly I find myself just hearing it.

Bands that come to mind while listening to Circles are Mike Oldfield, Yes (in their most 'relaxed' and least complex moments), Camel (also in their more relaxed moments; think Ice). The Kansas and Dixie Dregs similarities are less evident here. This ought to tell you that this is not very difficult music. It is very difficult to dislike this music, but it is equally difficult to be very excited about it.

I rate this with only two stars, but this does not imply that this is a weak effort by any means. It is just that compared to the previous two Solstice albums, Circles adds nothing new and is less memorable. I recommend anyone who is interested in this band to start with the better Silent Dance and then move on to the almost as good New Life. If you find yourself craving for more after hearing those two albums, Circles is indeed a good addition to your collection. But it is not the place to start.

"You are the music, we're just the band"

Solstice is not a very prolific band as they have recorded only four studio albums throughout their 30 year existence (including the most recent one being released this year). Formed in 1980, this British band is basically a one-man project with the only constant member being guitarist and composer Andy Glass. This does not mean that this is a one-man show, however. The people Glass has around him here are as competent as he is and the sound is that of a full band rather than a guitarists' solo album. Apart from electric guitars, violin, bass, drums and female lead vocals are omnipresent. There are also some keyboards, but they are never to the forefront of the sound.

New Life from 1993 is the second Solstice album coming almost ten years after their debut from 1984. You might see this as a result of putting priority on quality over quantity, or you could see the band as a victim of the unfavourable climate for progressive music in the 80's and 90's. Whichever way you see it you cannot accuse Solstice of compromising their musical vision for popularity, as neither the present album nor the debut sound anything like products of their time. Rather, they have opted for a rather 'timeless' sound that clearly draws on the classic Prog-era without coming across as 'retro'. Like with the debut, bands that come to mind while listening to New Life are Renaissance (primarily from the latter half of the 70's), Yes (in their more 'relaxed' and less complex moments) and perhaps Kansas (in their less hard-edged moments). The Mike Oldfield similarities that were evident on the debut, on the other hand, seem to be somewhat relaxed here in favour of a more Dixie Dregs-like approach on some passages. In some respects this second album by Solstice is even better than the first one; it has a slightly more powerful guitar and drum sound and the voice of new lead vocalist Heidi Kemp is not as distractingly similar to that of Jon Anderson compared to Sandy Leigh who sang on the debut. But overall, I find this album slightly less enjoyable and less memorable than Silent Dance. But New Life is still a very enjoyable album that I'm sure will please anyone who liked the debut.

Other things that strike me while comparing the two albums is that the sound of New Life is less diverse; it has less acoustic guitars, less keyboards and less 'exotic' elements. Also, the bass guitar is a bit less powerful here. The songs on New Life are not incredibly complex, and while this is hardly easy-listening it might perhaps appear as such if you just came from listening to Yes' Relayer album or some intense and complex Jazz-Rock/Fusion. If you like Silent Dance, New Life is recommended for sure - a good companion to that first Solstice album.

"You've got to find yourself before you look for anyone else!"

I must admit that I was not particularly impressed by this album when I first heard it, but I found myself playing it over and over until I realized that I actually enjoy it very much. The first thing that strikes you when you hear the first track is the similarity between the voice of the female lead vocalist Sandy Leigh and that of Jon Anderson. The latter has indeed a somewhat feminine quality to his voice and Leigh is clearly a singer in that style. There are several other Yes-similarities as well in the music of Solstice but they are not as evident as some people would make you believe. The similarities with Yes are perhaps most apparent on the first track of the album. Other bands that might come to mind while listening to Silent Dance are Renaissance, Mike Oldfield and perhaps Kansas. Like in Renaissance, the bass guitar is often (but not always) Chris Squire-like, but again like Renaissance, the sound of Solstice is a bit toned down compared to, and not as hard edged and "flashy" as, Yes or Kansas (it is more of a Turn Of The Century than a Sound Chaser if you catch my drift).

As might be expected from looking at the cover art picture and reading the lyrics and song titles, there is a certain New-Age sensibility in the approach of Solstice, sometimes reminding me of Oldfield's music. The sound of Silent Dance is never very aggressive or overly complex and some of the occasionally wordless vocals come across as chants. This is particularly noticeable on Cheyenne that features a chant that reminds me of the one provided by Steeleye Span's Maddy Prior to Mike Oldfield's Incantations album. The presence of violin and acoustic guitars also brings a slight but appealing Folk element to the mix and a somewhat jazzy element is also present, most evident on the closing track.

As Solstice is a British band formed in 1980 and listed here as Neo-Prog, it should perhaps be pointed out that they have sound-wise nothing to do with bands like IQ, Marillion, Pallas or other bands of that school. The sound of Solstice is more rooted in the classic Symphonic Prog of the 70's. Indeed, it is hard to believe that this album came out around the same time as Yes' 90125 and Renaissance' Time-Line and countless other albums by other classic Prog bands that were released around this time and are (often rightly) regarded as the worst albums of these bands. Unlike most albums from these the- worst-of-times for progressive Rock (and music in general), Silent Dance does not have that typical 80's sound. The sonic quality of the present album is high as is the quality of the actual songs. To have good material is, of course, the most important thing in all music, and the songs here are strong.

An excellent addition!