ATTILA KOLLÁR

Science fiction inspired, instrumentally oriented SOLARIS were Hungary's leading symphonic prog band from the early eighties onwards, releasing magnificent albums in 1984 and 1990. Before their third album Nostradamus (1999), both guitarist Istvan Cziglán -- who died in 1998 -- and flautist Attila Kollár had released a solo album. Attila called his own project Musical Witchcraft. The second part of the trilogy, Utopia, was released in December 2002. I bought the third Musical Witchcraft album Psalms & Soundtrack a few years back when I visited Budapest. I'm not familiar with the preceding albums of the trilogy.

The cover design is a mess, but that's not a big deal. Attila's flute is to a large degree the leading instrument in this acoustically oriented, melodic and slightly jazzy folk-prog, and his male co-musicians play acoustic guitar, bass guitar, percussion and drums. The female collaborator Edina Szirtes plays violin and harmonica and sings wordless vocals. The album is divided into Studio Section and Concert Section. First comes a 4-part "Psalms & Soundtrack Suite", followed by four separate pieces. Each piece is in a fairly regular song length, and symphonic tendencies are sadly rather absent. The folk flavor is strong also on the compositions that contain a good deal of rock elements. That is, the rhythm section is well present, be it a good or a bad thing. I perhaps would have preferred slightly less of drums. There are some sound effects -- alarm clock, bird singing, horses, traffic sounds -- that feel unnecessary, almost irritating, but luckily they're only momentary at the beginnings of tracks.

Without a question the musicianship is excellent. The organic and light-hearted music is enjoyable but doesn't really contain notably impressive highlights that would really stick out of the whole. The pieces on Concert Section are relatively similar than on Studio Section. Due to the nicely spacey live acoustics and the absence of sound effects I enjoy the Concert Section more. 'Hymn No. 200' has a charming melody. The flute sounds superb on it (as on the whole album), and Edina's vocalese fits nicely in.

I can't quite decide whether this is a lovely four-star album of excellent instrumental folk-rock or a mildly disappointing collection of less-than-stellar compositions. Let's say my rating is 3½ stars and I round it down for minor things such as messy design.

"FIRST REVIEW OF THIS ALBUM"

This is the third album by the Hungarian musical project Musical Witchcraft, led by Solaris fluteplayer Kollar Attila. He is accompanied by a wide range of musicians on acoustic instrument and one player on the electric guitar he joins the company in 3 tracks (he delivers a wonderful solo in the final track). The music sounds mainly as a warm and pleasant blend of folk and classical with a lot of room for the flute (also flute traverse evoking Ian Anderson) and violin along conga's, some harmonica and acoustic guitar (one solo contains beautiful tremolo guitar work).

If you are up to a sound that is based upon classical and folk, this is an album to discover.

My rating: 3,5 star.

This is the second album from Musical Witchcraft, but this time it is very much a group album whereas the first was basically a solo album from Kollár Attila who is flautist with Solaris. It is mostly an instrumental album, with vocals only on two numbers, and while it is being pushed as a prog album it has at least as much in common with folk and also sometimes getting quite close to New Age. The album initially started life as flute-acoustic guitar compositions and although the music has then been arranged and expanded upon this is still the basis. The flute is often the lead instrument, as would be expected, and is constant throughout the album as the complete band does not play on every song, with the line-up changing as required. Sometimes the flute plays against a violin, and there is an interesting passage on one number where he is playing against a bassoon, which has to be said doesn't happen very often in prog music.

That is not to say that it is an acoustic album throughout and that the flute is always at the forefront as there are times when the electric guitar needs to take control. Overall an interesting album and while not as powerful as Mindflowers is still a fun album to listen to. www.perifericrecords.com

Originally appeared in Feedback #72, Feb 03

Widely known as the flutist of Solaris, Attila Kollar had a solid and consistent career as a musician and after Solaris were put on ice he went on to perform with the Art Pop act Napoleon Boulevard (along with most of the Solaris members).In 1998 Kollar attempted his first solo effort entitled ''Musical Witchcraft'' and released on Periferic Records.He was supported by all his Solaris bandmates except Istvan Cziglan, who sadly passed away the same year.

One would think that this would be a more flute-based version of the Hungarian legends.This is partly true as half about of the album sounds a lot like a slightly heavier version of SOLARIS minus the huge symphonic passages.Strong guitar solos with Shred and Classical tendencies are blended with dominant flute-drives performed by Kollar, the grooves are interesting and catchy and the delivery tight and highly energetic.Symphonic influences are not absent, just not that evident as in Solaris' early formation.So some very cool Classical-inspired flute parts along with some symphonic/orchestral synthersizers are still included and then is when the style is very reminiscent of SOLARIS.Add also the very dynamic flute/guitar battles throughout the release in the picture.But Kollar performs also many parts in a mostly Medieval enviroment with some lovely folky tunes and an ethereal archaic mood characterizing these moments.All these elements are epitomized on the long and interesting 19-min. ''Musical Witchcraft Suite'', which opens the album.Not much to be said about the rest of the album, as it follows more or less the same vein as the suite's movements: Alternating Folk and Heavy/Symph tracks of decent inspiration.

Lovers of the flute sound should definitely check out this album as well as dedicated SOLARIS fans.This first Attila Kollar work is mostly very nice all instrumental Progressive/Art Rock with plenty of folky vibes.Recommended.

Musical Witchcraft's second album is perhaps even a notch above the previous first solo venture by Solaris' Attila Kollár, a bit mellower but still just as replete with Baroque and Renaissance musings. The nearly 20 minute "Utopia Suite" is comprised of four flute driven pieces, the first an acoustic guitar /flute pastoral romp, the second introducing that rippling Zsolt Vámos electric sizzle with brooding keys and solid bass and drum escorts. This has a strong Jethro Tull feel and will please fans to no end, the bluesy lead guitar solos being a particular highlight. The third segment features a simply heartrending melody on flute with violin, percussion and acoustic guitar, gentle as a morning summer breeze and full of romantic splendor. The violin solo is particularly sensitive and reinforces the strong classical slant that Kollár likes to infuse in his solo work. The fourth and final section returns to more adventurous realms with flute, violin and bass clarinet doing the rounds with liberal bursts of electric six-string magic, egged along by the pulsating rhythm section. "In the Hiding Place of Castles" soothes the senses with another bucolic Kollár promenade, full of amusing optimism and "Secrets of Morus" conjures up the opposite, full of fiery bluster that entices Vamos' axe to smolder unashamed in a long tortuous solo. The interaction with the feisty flute is astonishing and refreshing. The "Feast" has a noisy fair-like atmosphere that creates a party like mood that underlines the need to amusement. "Inquisition" is the wildest workout here with raging lead guitar, sultry violin and jaunty flute all vying for some justice, each soloing with utter abandon and then howling in unison, a major highlight of this disc, for sure. The "Tower" reintroduces the main flute theme again, this time with jazzy piano in the background, glitzy backing vocal crooning and cool cat jazz riffing by Vámos, a superb variation that makes the whole recording shine even brighter. "Utopia from the City" reprises the same theme in a more conventional prog setting, flute straight forward, organ blazing brightly and soaring electric guitar along for the sprightly ride. "Fairy Tale" ends this short gem on a delightful rustic finale. 4.5 broomsticks.

Once you've gotten past the eclectic and potent "Musical Witchcraft Suite", this CD falls into the trap of many instrumental recordings - ideas just seem to repeat themselves in various guises for the remaining 26 minutes. Atitila Kollar's foray outside of Solaris is more folky than the music of the mother band but also more metallic in parts.

Like Artsruni's Cruzaid which I have previously reviewed, that harsh tone gets recycled a bit too often for its own good. Eventually I pretty much know what is going to happen next, which is tolerable when I like it, but otherwise not so much fun. In the end "Musical Witchcraft", for all its wizardry, falls short of the aforementioned Armenian album because the material does not really impress further upon repeated listens, and because Artsruni included the vocal instrument on a few tracks. Witchcraft that is less than spellbinding. 2.5 stars rounded down.

If you dont know, Kollar Attila is Solaris`flutist and leader, and this is the first of his two solo albums, called "Musical Witchcraft" which includes other member from Solaris plus friends.

Im not so familiarized with bands or artist from Hungary, but what im sure is that Solaris and this solo album are really great , this solo album is similar to Solasis`releases, but not the same, in fact here in Progarchives we can find Solaris in symphonic rock, and Kollar Attila in prog folk, im not sure if he could be categorized as a prog folk artist, for example this albums has lots of flutes (of course, he`s a flutist), but i mean, maybe you will remind Ian Anderson who is completely folk, but this album isnt, i think the most of this album is symphonic music, folk exists here, but not so much for categorize it as a prog folk album, it has great keyboards and a outstanding guitar work, which is the perfect complement of flute, really electric guitar is great here.

It has 7 songs, the first one is simply called "Musical Witchcraft Suite", but what a suite, is a 19 minutes epic, which has some good changes, powerful passages and very symphonic sound, another thing, here, is the same way as Solaris, instrumental music, it has some voices, in 7th song 2Alchemy" we can find them, but not lyrics here, so is like a musical trip, with some emotional passages , returning to the first song, it is my favorite, its that kind of songs that you have to listen to it entirely, despite the lenght, because you can appreciate all the music, and the complexity of it.

Track 5 "Silent man`s prayer" is another great track, nice bass sound , good arrangements and again an excellent guitar, some tracks are maybe dark tracks, but always into the symphonic sound. This album is great, i like it so much, all the songs are good and well placed, so i enjoy them every time i listeng to them.

If you like Solaris, then you should try this album, i repeat, it is not the same sound, but is similar,it is innovating and maybe a bit experimental, and you can enjoy the work of Kollar Attila.

For all that reasons, i am sure this album deserves at least 4 stars, i would give it 4.5 stars really, but it doesn`t reach the name of masterpiece of progressive rock, so 4 stars, excellent addtion to any prog fan.

I highly recommend it!

Hey, this is an excellent addition to any prog music collection. (heheh)

From the booklet: "This new CD is a Musical Witchcraft project and not a "real" next solo album, so we would like to emphasize here the team-work."

In my opinion the Musical Witchcraft is really the heir to the Solaris tradition; beautiful melodies, excellent musicians. The music here is lighter than in the first Musical Witchcraft; maybe for the people used to Solaris's harder style it will be a bit hard to get used to this album, it has happened with me, but the music grows on you. The album does have its harder moments but it's overall lighter. Still, it's very recommended for any prog listener, and essential for any Solaris fan.

Utopia was released in 2002; Robi's solo, Meeting Point, is from 2000. It's about time we hear more great music from those masters. Come on Attila, leave those x-rays to someone else, we need you!

Hungarian prog band Solaris' leader and flutist extraordinaire goes on a wondrous little solo excursion, deep into the misty realm of the "Devil's Kitchen" , a baroque-tinged instrumental odyssey of tasty proportions. The opening 19 minute suite wastes no time in establishing the rules of conduct: this is primo stuff indeed, heavily influenced by medieval expanses, led by the magic flute. A curt percussion romp suddenly explodes into a Tull crunching rocker, beefed up with some driving rythm work, clearing the way for a blistering lead solo courtesy of the now sadly departed Csaba Bogdan . dueling with a very Anderson-esque flut solo , culminating in a jolly return to the main theme. What a start! Part 3 then proposes an acoustic guitar/flute duet with the usual pastoral grace associated with baroque tradition. This interlude sets the table for a Part 4 that is simply a devastating slice of pure symph-prog, in hommage to J.S.Bach ( the very first progger,after all) , with Zsolt Vamos' sinewy guitar excursions blasting away with unparalleled frenzy. Couldn't help smiling every time I hear this finale! The constant contrast between muscular and pristine, as expressed on tracks "Music" , "Boleriade" and "Morning Dance", is really highly invigorating, eschewing any attempt at monotone ennui. The musicians really interact well together, in full knowledge that there are strong hints at Jethro Tull here, more due to the instrumental setup than any overt attempts at plagiarism. There are no English folk references, nor are there any Hungarian ones (a rich tradition there by the way!) , the players stay focused on a truly more "Classical" direction that is sharper than anything the Tullies would ever conjure up. The real highlight track is the remarkable"Silent Man's Prayer" , a most seductive concoction that really states the case for such a mega five-star rating. a central theme delicately painted with the leader's windtool, time signatures leading to a serious guitar/flute ping-pong match that pushes all the right sensory buttons and polished off with a restrained bluesy solo (Vamos again) and a complex outro. "Rocks and Waves in St- Malo" does just that : it rocks and it waves powerfully! Vamos shows that he is no slouch , settling any doubts with another display of fiery 6 string firepower. God! Is this a great album or what! 5 spells