SOLARIS

For decades, Solaris has been one of the few bands capable of fusing electronic and folk elements into a cohesive sound without compromising the spirit of either. 'Martian Chronicles III: I or A.I.' continues this tradition, expanding on the themes and textures that made its predecessors stand out. The synthesizers and flute, once again, serve as the core of the band's sonic identity, weaving together two seemingly opposite worlds; one mechanical and futuristic, the other earthy and timeless.

From the first notes, it's clear that Solaris has refined their approach. The synth work is more layered and expansive than ever, with pulsating arpeggios, ambient textures, and cinematic swells giving the music a sense of amplitude. This could easily dominate the album, but the flute keeps everything grounded, injecting warmth and a strong melodic presence. Kollár's playing is expressive, at times almost vocal in its phrasing, creating moments of contrast that elevate the compositions beyond typical instrumental rock.

Compared to 'Martian Chronicles I' (1984), this album leans further into electronic elements, but the spirit remains. The first installment had a symphonic, almost classical structure, while this one feels more fluid, more modern in its production approach. 'Martian Chronicles II' (2014) acted as a bridge between the past and present, keeping the core sound intact while refining it with updated recording techniques. Here, Solaris takes things a step further?this is likely their best-recorded album, with a clarity that allows every detail to shine.

However, not everything blends as seamlessly as it should. The guitar, while well-played, has a tone that occasionally feels out of place. The warm, organic textures of the flute and synths contrast beautifully, but the guitar's timbre sometimes disrupts that harmony. It's a minor flaw, but noticeable, especially given how much care went into crafting the rest of the mix.

Even with this, 'Martian Chronicles III: I or A.I.' is a powerful addition to Solaris's legacy. The band remains as adventurous as ever, proving that their unique fusion of electronic and folk influences still has new ground to explore.

Music: 5 stars

Lyrics: 4 stars

Execution: 5 stars

Emotion: 4 stars

Production: 4 stars

Artwork: 4 stars

Average: 4.33

The 20 minute + "Zoo Galactica" launches this new adventure with considerable aplomb, settling rapidly into a cosmic introduction that immediately ushers in the prototypical Solaris sound: lush keyboards and synths, twirling flute, a solid rhythmic pulsation and soaring electric guitar leads that together decorate the sonic universe with a myriad of impressions of vastness, power and imagination. "Shadows of the Creators" veers toward a more cinematographic inspiration, delicate synthesizer melodies that initially steer into more contemplative realms with the miraculous flute in the lead, the ominous distant threat of orbiting guitar shifts never far behind, in the shade of time and space. Stoic and reserved at first glance, "The Guardians" assumes its authority with confidence and resolve, as the buildup generates an upheaval of density, again marked by a stinging guitar riff, and whooshing synths that clatter, collide, and ultimately explode in a cosmic ballet. Decisively raising the contemporary conundrum of technology taking over unsuspectingly our daily routine, "I or A.I." tackles this new horizon with a clever old-school classical flute essay that showcases the achievements of the past and then slams the concept hard with a rousing, aggressive organ-drenched, choppy axe riffs galore rant that shovels ahead like a bank of super computers gone AWOL. "Inflection Point" takes that even further, highlighting the impossibly carnal attraction of the piano to wrestle with all the electronic laser-guided sounds, in a battle for galactic supremacy. Bogdan's slithering stun guitar in particular causes quit a stir, giving way in the end to the piano insisting on its rights to fight on.

Change of pace on the "Ballad of Deluge" spanning 21 minutes, an orbiting space station platform for a way more symphonic approach, with booming orchestral timbales, accumulating violins and cello, as well as a three-person choir to the flute-led arrangement on the opening "Prologue", finished off by a deafening gong. Unexpectedly, a churning organ hijacks the spacecraft with a cool, somewhat countrified slide guitar motif, like a vintage Jethro Tull ditty suddenly peering out of the command module. "Island of Survivors" is a real treat in combining a massive church organ to the mix, synths flying off the handle and a flurry of turbo-charged fretboard to further delight, fingers snapping in utter delight. Reverting to a more laid-back moment, "The ARK" has a jazzier approach, with deft drumming, a romping bass furrow, twirling piano adornments and a Magma-esque choir, as the electric guitar pretends it's a violin, the eccentric strings putting the final nails into the exploratory wooden ship led by some Noah guy, reminding us that the flute is ultimately a magical instrument. With delightful Asian overtones, "The Ballad of Deluge" also has Hungarian lyrics sung with a sense of acceptance and fate, as if the global tsunami yields nothing less than a rebirth, a renaissance of sorts, perhaps a return to the blackboard (computer screen) is in now in order. A magnificent voyage, indeed.

On CD 2, the nearly 40 minutes of "Dream Valley" welcomes the preceding collapse and the impending renewal, a further discourse on a new day, in a new world, with a reawakening of courage, hope and determination. But like in all dreams, one must face the "Nightmares" first, and this bruising sympho-hard rock blast serves to wake us up in a dreaded sweat, shock to the system by definition. The marshaling drums show no patience for contemplation, the bass guitar paving the way like a guiding light within the darkness, the flute donating an added layer of salvation, the church organ motif offering absolution, as the synths and guitars duel it out like in a gruesome Western movie, pistols ablaze. Superb piece. Oxymorons displayed on "Future Memories", a contrasting tug of war between the previous and the potential, voices and instruments at odds with each other, doomsday electronics muscling in on Edith Piaf-like musings, a cleverly orchestrated slice of sonic expediency, a mezzo-soprano voice (I am a sucker for that kind of sound) wailing as if a great gig in the sky is being planned for the astral listeners. The sizzling guitar solo is astonishing, egging the synthesizers to howl at the moon, the stars and even at a few passing asteroids, the aria returning for another chance at showing off lung power. The flute and acoustic guitar also have their say, in convincing fashion. What a blend of various moods and sounds! The chaotic "Golden Raven" is experimentally resonant, a short etude in preparing for another cornerstone piece (the longest on the album) "Dream Valley", as perfect resume of what this release is all about, a deliberately restrained, modern /classical electronic arrangement that gives the opportunity to really appreciate the passion, the atmosphere and the sublime melodies these Magyar lads are so gifted to possess. To make matters even worse for me, a fretless bass solo takes over and sends me into a paroxysm of joy! The percussion section is off the charts vivid, the gypsy violin severely romantic and the chanting vocals utterly hypnotic. Playfully intricate, at times appearing effortless, the vibrant music is simply hyper creative, deeply entertaining and unpredictably comfortable, permeating deeply into the soul. Highlight track, bar none. Flutist Atilla Kollar gets to vent (pun intended) on "Paradox", hurling notes liberally at the clanging guitars, the moody ambient sections adding to the swoon, a whistling voice, gruesome vocal effects, and twinkling inspiration. There is a strong Spanish/Moorish influence, as it morphs into a sandstorm of sensations and echoes, keeping the listener on constant edge, a contradiction fulfilled. The flute reestablishes control, defiant and valorous, repulsing attempts by the churlish wah-wah guitars and the throttling organ counterattacks to take over the dominion. Kick- ass display once again. Two brief affairs to finish off this masterpiece: the majestic breath-taking grandeur of "Monument", a progressive shrine of mood and substance, with a massive killer choir fest to seal the deal. And, as perhaps predicated by all the preceding understanding, a serene flute and a beautiful Hungarian poem of hope and a dream for a better world for all.

Literally a personal soundtrack to the imaginary movie that plays in one's mind, I can see Ian Anderson listening to this and yelling out loud "Hot night in Budapest"! This should easily sit right on top of the 2024 mantel, as its is a full upgrade on the 2 preceding Martian Chronicles.

5 clash of titans

Link- https://www.dprp.net/reviews/2024/088#solaris

The album is divided into three distinct suites, each reflecting a different aspect or story about Artificial Intelligence.

The three suites are quite different to each other in style. In broad terms, the first suite Zoo Galactica, which was composed by Bogdan, can be compared to the style of Solaris at about the time of the release of the original Martian Chronicles album. Aspects of the suite are reminiscent of tunes such as Apocalypse, and When the Fog Descends. Consequently, Zoo Galactica is sure to please a broad number of Solaris fans.

The first suite is crammed full of bulging synth lines, exciting guitar riffs and lots of aggressive trilling. The tune I or AI is bookended by a gently classic Solaris-type acoustic intro and outro featuring wistful flute. However, the piece is a showcase for a white-knuckled extravaganza in which guitar and organ exchange glances, scowls, and riffs with fiery intent. Its burning guitar energy and pumping-organ intensity is utterly compelling and great fun!

The title track of the first suite is equally satisfying. Its intoxicating mixture of synth, flute and guitar could not be mistaken for any other band. However, amidst its recognisable traits of tasty riffs and hard-blown fluted excitement, there are plenty of other influences at work, including a slight flavour or essence of classical music structures and a hint of the melodious style of Camel.

The second suite written by Kollar and Erdesz has a different feel. It frequently projects a cinematic quality. The extensive use of strings and particularly the cello in tunes such as, Prologue and the ARK gives it a different set of instrumental colours compared to the previous suite. Parts of it, reminded me of Kollar's work with Musical Witchcraft.

Other parts of this suite are reminiscent of the style Solaris developed for their Nostradamus release. This is probably due to the breathtaking choral parts in tunes such as, Prologue and markedly, during the enthralling climatic vocal sections of the very impressive and atmospheric the ARK.

My favourite tune in the second suite is undoubtedly Island Of Survivors. A snarling overblown flute introduces the piece. However, it soon morphs into an infectious blues based, innovative and inventive rocker complete with choral sections, frantic flute work, gorgeous bass parts, spiralling organ runs and a guitar tone that is irresistible.

Bogdán's slide technique, jangly playing and adjustments of volume and pitch creates a memorable impression. The concluding section of the Island Of Survivors is simply brilliant.

The third suite entitled Dream Valley was written by Erdesz. The style of this suite is more akin to Solaris', most recent output including Martian Chronicles 2 and particularly Nostradamus Returnity 2.0. It has some inspirational playing and is characterised by its imaginative soundscapes, overall diversity and dynamic use of light and shade. Good use is made of whispered vocals, choral interludes and shifts in volume and tempo. It is, by turns, melodic and wistful, heavy, and menacing .

The title track Dream Valley is without doubt one of the strongest compositions of the of the suite. Dream Valley has many contrasting parts and differing moods. Somehow, these diverse characteristics blend seamlessly and perhaps more importantly, make total sense within the context of the tune.

It has several traits that grab, clutch, and caress the senses. These include, raspy flute lines, musical references to the original Martian Chronicles release, disconcerting vocoder interjections, ethereal choral sections, enchanting string passages, and not least of all a striking fretless bass part.

There is no denying that Paradox's tightly-knit structure, breathy fluted bursts, call-and-response guitar and keyboard salvos, and insistent beats, enables it to build into an impressive crescendo; where choral voices make a resounding and colourful impact.

The third suite is beautiful, it is futuristic. It is disturbing, it is rousing, it is reflective. It is simply very good.

Martian Chronicles III - I Or A.I is one of the best performed Solaris albums.

Much of Solaris signature sound is centres upon Robert Erdesz dazzling array of effects and fine keyboard skills. His synth accompaniments are as much a trademark of Solaris as Kollár's flute and his sonorous repartee with both the flute and guitar is excellent in all of the suites.

Every musician involved brings their "A" game to the proceedings.

Róbert Erdész' evocative playing is the catalyst for the other players to express themselves. His superb choice of synthesiser tones has a striking and spectacular impact. These create a remarkable impression, that decorates, and textures the music. His expansive flurries give parts of the third suite an otherworldly set of colours, where ochre flamed forests and azure sunsets rise and fall in a soundscape of flowing wails and a procession of off world groans.

Guitarist Csaba Bogdán's talent shines brightly and the tunes are vividly illuminated by his distinctive use of tone, crunchy riffs, expressive solos, and fluid embellishments. His skillfully performed and exciting solo in Shadows Of The Creators is a fine example of Bogdán's consistently excellent contribution.

Flautist Attila Kollár lights things up on the silver tube with a wonderful display of a range of styles. The album contains several splendid examples of adrenaline spiked flute prog rock. There are also a plethora of baroque inspired passages that ripple and flow with a subtly coloured elegance. These frequently create a warming graceful ambience.

Attila Kollár has an ability to create wonderful melodic flute lines that float and delicately flutter. In the next fluted moment, he can alter the dynamics of a tune, by blowing snorting, and snarling in a primeval way that is hard to resist.

Three bassists are used on the album and each of them brings a particular quality to the tunes that they are involved in. For example, Solaris' original bassist Attila Jata Seres provides some punchy bass lines in the ARK. Kisszabó Gábor tuneful bass tones during Dream Valley are stunningly beautiful. His role in Island Of Survivors is equally impressive. However, most of the tracks feature Tamás Tompox Pócs on the bass. His input to the riff heavy Shadows Of The Creators is excellent and his immaculate sense of timing and rhythm also stands out in Nightmares.

Nightmares is a tune with lots of interplay between the players. It is probably my favourite example of the collective musical skills of the band . Their collaborative playing as an ensemble is excellent. It begins evocatively with a strident and discordant synth and a jagged guitar riff. The flute is also prominent in many sections. Overall, it is a great example of hard-hitting flute prog rock. Satisfyingly, the tune also contains several recognisable motifs from the bands original Martian Chronicles piece. Nightmares is also a notable platform for László Gömör's busy drumming style.

The contribution of Gömör' adds a lot to the album. Several of the pieces end, or begin, with striking drum or percussion elements. His expressive and skilful use of the kit adds an extra rhythmic intensity to the harder hitting sections of the music and offers a gentle touch when necessary.

Overall Martian Chronicles III - I Or A.I. is a wonderful album and is a most welcome addition to the bands extensive discography. It is probably the best Solaris album yet!

If you have your first listening session with this mainly instrumental album I am sure you will be blown away by the skills of the classically trained musicians, not only on the instruments but also as composers. The sound of Solaris is build upon The Holy Musical Trinity of flute, guitar and keyboards, with lots of dynamics, tension and musical ideas. The one moment mellow with tender classical flute, the other moment a sumptuous outburst with spectacular pitchbend driven Moog synthesizer flights. Or an electronic atmosphere with hints from Jean-Michel Jarre, like in the first part of the titletrack.

I highly recommend this masterpiece from Hungary, a bit forgotten during the years.

Although their debut album came out in a period when prog was an ugly word, by the time 1999 rolled around a revival was well underway, and it would have been all too easy for Solaris to take a more retro-prog route, with lots of analogue synths to really drive home the nostalgia factor. However, they don't take that route: instead they produce an album replete with a mixture of very ancient sounds (the aforementioned chants) and extremely modern ones, with synth-wrangler Róbert Erdész using a slate of digital equipment to add a futuristic sheen to things.

This, of course, is all very apt to the concept - the album itself sounds like it is unstuck in time, drawing heavily on the long-ago past and the imagined future but with a gap where the "present" sits, with the end result being simultaneously truly inventive but still close enough to symphonic prog in ethos that prog fans will find it an enjoyable prospect.

For connoisseurs, from the first minutes of "Returnity", the river piece which opens the album and which displays no less than thirty-four minutes, we recognize the SOLARIS leg whether it is by the flute of Attila KOLLAR or the guitar multiplied by Csaba BOGDAN, sometimes metallic, sometimes melodic; of course Robert ERDESZ's keyboards are no exception but above all provide the symphonic foundation of this "Nostradamus 2.0", Doctor Robert is not a character who is used to pulling the cover to him.

The six episodes of this peplum correspond to six dates for which I have not necessarily found historical traces; for December 2, 1942, we have the first nuclear chain reaction; for April 26, 1986, a recent date of sinister memory, the explosion of the CHERNOBYL nuclear power plant; for June 30, 1905, place to Albert EINSTEIN who sends to the German magazine "Annalen der Physik" his manuscript with the following question "Can we run after a light ray and catch it?" In this case, what would we see?

1969: September 2 is the birth of the ancestor of the Internet and July 20, of course, are the first steps of man on the moon!!! Thank you gentlemen ARMSTRONG, ALDRIN and COLLINS ..... And with all that in mind, well the listener does not see the piece pass, all in his thoughts and his dreams that he is! We will add at the conclusion of this historical unfolding, "Deep Blue" on May 11, 1997, it was the first time that a computer beat a human being in a game of chess and not just any chess since it was about Garry Kasparov.

Admittedly, the unfolding of this chronicle is more like a history lesson than an in-depth study of the music of SOLARIS, but that was the minimum to understand the approach of our Hungarian friends; conclusion, the music of SOLARIS goes very well with our time and what is happening there, if you like progressive music with a symphonic tendency, with here very rare sung passages it's simple, go for it.

Solaris can do nothing wrong, every one of their studio albums are excellent. They are however few and far between, and this album came out of nowhere last year without warning. 20 years after Nostradamus - Book Of Prophecies comes Nostradamus 2.0 - Returnity (Unborn Visions). If you are familiar with the former 1999 album, you will have a pretty good idea of what to find here, and both albums are equally great.

The album holds only four songs, but one of them is over half an hour long. The vocals are (as far as I can tell) sung in Latin, and there are both male and female voices to be heard. The focus does however lie on the instrumental attack of flutes, keyboards, guitars, bass and drums.

Personally, I like the band's two Martian Chronicles albums even more, but I am very happy to see that Solaris are still active and releasing new material in their inimitable style. I am less happy though to see that they are not getting the attention they deserve. If you enjoyed past Solaris releases, this one will not disappoint.

Highly recommended!

Hungarian formation Solaris is one of my favourite bands from the Post Classic Prog Era (1967-1979), what an exciting musical encounter between rock and classical! I am still delighted about their studio-albums Martian Chronicles (1984) and (2-LP) 1990, and the Live In Los Angeles CD release. I have discovered Solaris in the early Nineties in the Syn-Phonic catalogue, in those days a kind of pocket version of the Bible for progheads.

The Hungarian formation Solaris was originally founded by some school friends in 1980. The band's name was derived from the title of book by SF writer Stanislaw Lem. After they made impression on a talent contest at The Budai Park for a massive crowd (mainly youth), the band was offered an opportunity to make a record. In '80 Solaris released their first single entitled Rock Hullam (actually this was a split single, Solaris got the B-side). They released the second single Eden/Counterpoint in '81. In '84 Solaris released their first album The Martian Chronicles, it sold almost 40.000 copies. In those days progrock was popular in Hungary: Omega had crowds of 100.000 spectators! In '90 the controlled Hungarian record company was finally willing to release early Solaris recordings entitled 1990 (a 2-LP). Then the members of Solaris went their own way and joined or founded new bands.

In 1995 Solaris was invited as the headliner of the Progfest Festival in Los Angeles by Greg Walker, mastermind behind the USA progrock label-mailorder service Syn-Phonic. He succeeded in persuading the band for a reunion concert (recorded on a 2-CD and partly on a video with other progrock bands Ars Nova and White Willow). The band got a standing ovation by a bunch of progheads! A year later Solaris performed on the Rio Art Rock Festival, organized by the Brasilian proghead Leonardo Nahoum.

On December 27th 1998 guitarplayer Cziglan died of an incurable illness. One year later Solaris released their third studio-album entitled Nostradamus, featuring work from the late guitarist Cziglan. And in 2014 Solaris stunned the world of prog with a new studio-album entitled Martian Chronicles II, in 2015 followed by a live CD and a live DVD/CD set, entitled Martian Chronicles Live. This review is about that set.

The concert was recorded in Hungary in 2014, in a wonderful and cosy theatre, with full house. Solaris start with a JM Jarre inspired electronic intro (Martian Chronicles Part 1) featuring sensational Moog Voyager synthesizer flights, with subtle use of the pitchbend button, and very pulsating arpeggiator notes, it sounds evenmore impressive and lush than on the 1984 album. Then gradually the other members enter the stage and we can enjoy Solaris their awesome blend of rock and classical, including delicate work on the flute traverse. An impressive solo piece on the piano (from tender to sparkling) emphasizes the strong influence of the classical education of all members. Solaris continue with playing Chronicles Part 3-6: an outstanding and dynamic rhythm-section, great interplay, spectacular soli on synthesizer, guitar and flute and, last but not least, Solaris their trademark featuring The Holy Trinity of keyboards, flute and electric guitar, wow! The music varies from up-tempo beats and bombastic outbursts to slow downs, accelarations and dreamy atmospheres, very dynamic and compelling, performed by excellent musicians. One of the highlights is Mars Poetica: two keyboards players and two guitarists delivers outstanding interplay and soli, and again we can enjoy The Holy Trinity as multi-instrumentalist and band leader Attila Kollar switches from electric guitar to the flute travers, what an amazing musician. This track is followed by a mid-long and inventive drum solo.

The concert features also a tribute to the late guitar player Istvan Cziglan (cancer). First a wonderful duet entitled Duo between the flute and acoustic guitar. Then an emotional and very impressive piece featuring screen projections and a mime actor, he does a very good job by expressing the pain, anger, despair, illness, fighting back and finally the death, supported by great music on tape by Solaris, including guitar by Czigi. The composition Counterpoint is another tribute, now to drummer Vilmos Toth (who recently passed away) with images from Vilmos and the exciting Holy Trinity. This is followed by the piece Solaris, it starts dreamy with flute, then a slow rhythm with a moving guitar solo, finally with a wah-wah sound (by Tamas, the son of keyboard player Robert Erdesz).

The most interesting part of this concert is the first live performance of their Martain Chronicles II album from 2014. The music is in the vein of trademark Solaris but more adventurous and varied. It features a classically trained female singer and a saxophone player, the music sounds very dynamic with a bombastic conclusion featuring powerful saxophone work and wah-wah guitar. Part Two contains tender classical piano and jazzy acoustic guitar, gradually a more lush sound and in the end sparkling piano and expressive female vocals. Although this new music is not always my cup of tea I am impressed by Solaris their skills and musical ideas, what ahigh level! The official concert is concluded with three more tracks from Martain Chronicles I, my highlight is the sensational up-tempo track Apocalypse featuring a very dynamic rhtyhm-section and again exciting interplay between the Moog, flute traverse and propulsive electric guitar riffs, goose bumps, this is trademark Solaris in its full splendour! The concert ends with two encores. First E-Moll Concerto Allegro Con Molto: a longer version, ranging from tender flute and piano to heavy guitar work and a lush Hammond sound, awesome 'rock meets classical'. Finally Micky Mouse, an up-tempo track with sensational Moog flights, sparkling flute and propulsive guir riffs, finally supported by pleasant Hammond waves.

During this (mainly instrumental) two hour concert Hungarian formation Solaris showcase that they are one of the best progrock bands in the Post Classic Prog Era. So highly recommended, especially to the fans of Camel, Jethro Tull, Focus, Yes and early Manfred Mann's Earth Band.

P.s.: The CD version of this concert is the same as the DVD, except 3 deleted tracks: the drum solo and Duo and Beyond.