SOLSTICE

This UK Neo-Prog band was initially formed back in 1980, but has undergone numerous starts and stops and lineup changes over the years (guitarist Andy Glass being the only member to remain through all incarnations). This is the 3rd album from this latest version of the band, following Sia (2020) and Light Up (2022), and features a tasty mix of folk, jazz, and melodic prog in an upbeat, joyful style that is very accessible and engaging. Featuring the alluring effortless vocals of Jess Holland and great vocal harmonies, as well as highlighted use of violin, guitar and keyboards throughout, the album opens with a couple gently swingin' jazz-rock tracks with a great vibe and feel. But the mix of folk, jazz, and prog is best on display in the wonderful 4th track Frippa. The longest track is Twin Peaks, stretching out at nearly 14 minutes and featuring an ebb and flow and great instrumental prowess of the band members. The album concludes with a bonus track that revives a song from early in their career in a new reimagined form. Overall, it is a wonderful album of uplifting, positive melodic tunes that is sure to make you feel good. Best Tracks: Frippa, Twin Peaks, Life. Rating: 4ó

1 Firefly opens and puts the SOLSTICE sound in the spotlight, soft and marshmallowy with the violin and the female vocals, flirting with South American jazzy sounds; good but lacking in soul. The guitar solo saves the appearance a bit, but I don't see anything new or innovative for this band I had so much hope for. 2 Life Suit, more jazzy soft melodic fusion; a beautiful ballad like in the 80s or 90s, or even the 70s. Yes, I'm thinking of FLEETWOOD MAC; I'm waiting to find that pearl drop to get going. The mid-tempo variation that follows, with the rise of the reverberating guitar solo, saves the notes; I'm starting to doubt the appeal of the novelty. 3 Plunk, with this synth sampled on a trumpet, becomes repetitive before really getting going, bordering on annoying. The heavy guitar solo, yes, I insist, saves the appearance, but you really have to love this nostalgic atmosphere to take off; Redundant and soporific

4 Frippa for its cinematic intro, its energetic vintage keyboard; we repeat the same pattern and the same flaws afterwards, unfortunately; too bluesy-jazzy and the neo-prog I'm still looking for. The folky violin ambiance to melt, yes, but it lacks the momentum. A neo-keyboard solo contradicts me, voiceover again launching the... guitar solo always enjoyable, Andy hasn't lost any of his energy; go for the violin full of Albion. 5 Twin Peaks for the nostalgic vintage moment, where I dive back into their 1992 album! Sweetness, the bucolic enchantment of this genre apart, flirting between folklore and neo-ambience with the best guitar solo on the album, rich, gripping, a bit like IONA in fact. The vocal, with the marshmallowy hints of FLEETWOOD MAC of yesteryear, is interesting but not stimulating enough. The mid-track break is clearly neo, perhaps Matrix-esque. Yes, I want to escape; in short, from hypnotic psychedelic synth to ethereal vocals, I'm finally taking off. It starts again with a light, buzzing pad, a trendy bolero launching the final, overwhelming chorus. Phew, finally, the synth outro really reassures me.

6 Earthsong (Bonus CD) for the rehash of the track "Silent Dance" from the first album. The title track is too sugary and sticks, preventing me from taking off; a consensual tune without spark, far too melodic and predictable, a shame.

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

The Clann's Solstice

Solstice is one of those underrated ? bands in the world of British progressive rock. Formed in 1980 by guitarist and primary songwriter Andy Glass, the band carved a unique niche with their blend of symphonic prog, folk textures, spiritual undertones, and New Age ambiance. Their 1984 debut Silent Dance remains a cult favorite, rich in violin-driven melodies and gentle vocal work. Despite long breaks and lineup changes, Solstice has always remained a labor of love, led consistently by Glass. After periods of silence, the band saw a remarkable creative resurgence with Sia (2020) and Light Up (2022). Clann (2025) is the third and final part of that trilogy?a culmination of their most artistically mature era. Solstice is Andy Glass ? Guitars, vocals, Jess Holland ? Lead vocals, Jenny Newman ? Violin, Pete Hemsley ? Drums, Robin Phillips ? Bass, Steven McDaniel ? Keyboards, vocals, Ebony Buckle ? Vocals, Crutcher ? Vocals Clann Strong characteristic is vocals work is really solid even stronger than their previous records , full of great harmonies and a the energy of Jess Holland's performances.

At just five tracks, Clann is concise for a prog album, but that brevity comes with mixed results. While each song feels deliberate and part of a broader emotional arc, the overall impact is somewhat blunted by a production style that feels too polished, even sterile at times. The album leans heavily on studio sheen?layered vocals, pristine guitars, compressed drums?which often robs the music of the warmth and organic texture that has defined Solstice's charm in the past.

Clann is a conclusion and a celebration. It caps off a trilogy that has seen Solstice move from pastoral 1980s holdovers into a confident, modern progressive band with something to say. The album is spiritual, melodic, and organic?prog that's more about emotional resonance than technical flash. You can feel the decades of experience and love poured into it. But again some of those new records has that too polished sound that lost that sensation of a classic record that That subtracts points at the end of listening to this wonderful album. The thirst for perfectionism can sometimes work against you. This is a great record but I still think that Sia is still my favorite, anyway a good Sunday listen but not the best from Solstice .

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.

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.

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 debut Solstice " Silent Dance" still remains my favorite album by them, although the recent album ' Light up' comes close!

Silent Dance came out in 1984 in the middle of the 'new wave of British progressive rock'. A movement that was later, often disdainfully, referred to as neo-prog. I would not call Solstice neo-prog; they were a bit different. They made a hippy-ish spacey progressive rock with beautiful layered arrangements.

The main influence on this band seems to be Yes. The vocals of singer Sandy Leigh more than often sound like Jon Anderson. An exception is the last track where she sings in her natural voice. Since this track is called ' find yourself' I do no think this is a coincidence.

Its is hard to pinpoint highlights on the album since the songs are off a consistently high quality. Maybe the dreamy and spacey " Earthsong" is my favorite.

Anyway great debut by a very promising band that never really got the recognition they deserved. Maybe they had to sound more like Marillion at the time but they had their own vibe going.

I am in doubt between 4 and 5 stars but 'an essential masterpiece of progressive rock' seems a bit too much praise.

4,5 stars

I have been revisiting the older Solstice releases lately and this one seems to be somewhat undervalued.

Stylistically it is pretty much in the same style as ' a new light' (despite several new band members) but maybe with a little more variety. '

The opening track Salú is a very nice instrumental in the typical hippy prog Solstice style with tasteful guitar playing by Andy Glass. (7/10)

The highlight of the album is the title track. in more upbeat funky style but with a more ambient middle part. This might be one of my favorite Solstice tracks actually. (9/10)

Soul to soul is a decent more ballad style track. Not my favorite but not bad too. (6/10)

Thank you is a little more rockier with a good catchy chorus . Very nice (7/10)

Medicine is another ballad style track with beautiful singing by newcomer Emma Brown. (7/10)

Sacred run is the heaviest track on the album. For the rest typical Solstice, just a bit heavier. (7/10)

Coming home is another instrumental. Andy Glass channeling Andy Latimer. Simply beautiful and melancholic. The other highlight of the album (9/10)

So in all a very solid Solstice album that certainly deserves a bit more attention. But frankly, the whole Solstice catalogue deserves more attention. They are still one of the best kept secrets in progressive rock. For me this scores on average about 7,5/10 so that translate to a 4 well deserved stars.

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.