MARTIAN CHRONICLES III: I OR A.I.

This is an edited and adapted version of my review which appears on DPRP net

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!

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