Style: Progressive metal, sludge metal (mixed vocals, mostly clean)
Recommended for fans of: Alice in Chains, Mastodon, Tool, Psychonaut
Country: Northern Ireland
Release date: 24 July 2026

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Modern progressive acts often struggle to break free of their core influences. Spin-offs of Mastodon and Tool have become a dime a dozen, resulting in countless albums that have an initial comforting familiarity but lack the innovation to create long-term appeal. Northern Ireland’s Solothurn sit firmly at the intersection of the two giants of progressive metal, though in their three-track EP, High Priestess, infuse the emotional melodies of Alice in Chains-era grunge in an attempt to distinguish themselves from the crowd. 

While High Priestess takes on the bleak topics of technological alienation, social unrest, and emotional emptiness, there is an undeniable sense of hope that permeates the EP. Even through the lamentations and struggles of survival amongst urban decay expressed in the title track, a grateful solace is declared by singer Ryan Adair: “What a beautiful feeling—I know if I’m breathing, I’m not dying.” The melodic vocal influences of Jerry Cantrell and Lane Staley are immediately apparent in Adair’s emotional delivery. Guitarists Dee Cleland and Jamie Wright lay down velvety-rich Cantrell-inspired harmonies underneath Adair’s wailing throughout High Priestess, interjected with heavier Mastodon and Tool-influenced riffs. The opening thick, mid-tempo guitars and haunting vocal melodies of “Breathing Decay” would fit seamlessly in Alice in Chains’ Dirt. Adair uses harsh vocals sparingly, choosing their placement wisely. The hair-raising scream at the conclusion of “Breathing Decay” provides a fiery peak to the track’s steady-building tension.

In the final track, “Hollow”, Solothurn emphasize atmosphere over the riff-centric “High Priestess” and “Breathing Decay”. Though Adair’s soaring vocals have emotional appeal, the backing instrumentation floats along sleepily for the majority of the nearly eight-minute track, failing to maintain the listener’s attention or build any meaningful momentum. While the track concludes in a brief burst of double bass and Adair’s growl, it’s hardly a payoff that justifies the over-extended mid-tempo lethargy that precedes. In a full-length release, “Hollow” may have been a nice change in pace, nestled in between more intense tracks—but as the conclusion of the EP High Priestess, it dampens the excitement that was built up to that point.

On the whole, there is a refreshing simplicity to Solothurn’s approach. In what often seems like an arms race to achieve the pinnacle of technicality or complexity in progressive metal, Solothurn brim with a mature confidence in their strengths. Wright’s guitar solos are more melodic than virtuosic, blending naturally into the surrounding atmosphere and grungy vibe. Marty Elley’s drumming is a steady force, subtly infusing Danny Carey-like tom fills in “Breathing Decay” and “Hollow” though never placing himself as the focal point. And by positioning Ross Hunter’s bass prominently in the mix alongside the guitars, High Priestess has a full-bodied depth that satisfies. 

In High Priestess, Solothurn nicely blend their Mastodon and Tool-inspired grooves and riffs with the emotional air and depth of Lane Stanley-era Alice in Chains. Though far from innovative, the EP demonstrates a young band with the capability and chops to rise above the field of bland copycats and establish themselves with a unique voice worthy of attention. I know I’ll be watching closely.

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Recommended tracks: High Priestess, Breathing Decay
You may also like: Anciients, Dvne, Hippotraktor, Witch Ripper
Final verdict: 7/10

Related links: Bandcamp | Facebook | Instagram

Label: Independent Release

Solothurn is:
– Ryan Adair (vocals)
– Dee Cleland (guitar)
– Jamie Wright (guitar)
– Ross Hunter (bass)
– Marty Eley (drums)