•
• 2001
Giant Progweed - SOLARIS - Marsbéli krónikák
• 2000
PROGVISIONS - SOLARIS - Archive 1. Back to the roots…
• ProgVisions,
2000. March - SOLARIS
- Nostradamus (Book of Prophecies) <New!>
• HARMONIE
Magazine no.37, 1999 - SOLARIS
- Nostradamus <New!>
SOLARIS - Martian Chronicles
GIANT
PROGWEED - 2001
SOLARIS’ Martian Chronicles is considered one of the classic albums to
have come out from behind the Iron Curtain, the band hailing from Hungary
and in hindsight is probably one of the very best progressive rock albums
released int he 80s.
Solaris plays a style of instrumental symphonic progressive that should be
familiar to fans of groups like CAMEL or NOVALIS. Flowing, beautiful melodic
themes juxtaposed against a definite ability to rock out, without sacrificing
either. Each note ont he album is pored over and meticulously crafted, creating
exquisite melodic themes with little to no improvisation or needless instrumental
masturbation.
The album also bears significant characteristics indicative of its decade
of origin, bordering ont he fringe of neo-progressive at points. Rhytmically,
the music here is straightforward and uncluttered, sometimes driving rock
beats, sometimes more laid back, but nearly always in 4/4 or 3/4 as far as
I could tell. The band is melodically impeccable, focusing on creating dramatic,
grandiose passages with layered synths, flute and guitar parts. For Solaris,
their distinguishing characteristic is their hard edged, „futuristic” feel.
Somewhat in line with this theme, all keyboards are digital, for better or
for worse. In this case, I don’t mind them. Despite having a neo-ish feel,
the band simply kicks ass most of the time, as extraordinary synthesizer
parts fuse with aggressive, metallic guitar riffs to great effect. The album
opens up with the „Marsbéli Krónikák” suite. Actually, the worst part of
the album comes in the first track, as the band uses cheesy „martian” voices
over the otherwise cool instrumental part. After that initial misstep, the
suite picks up gloriously with an array of utterly gorgeous sythesizer themes.
Thankfully, the album does not let down afterwards, as the explosive and
energetic „M’ars poetica” is arguably the best cut ont he album, followed
by beautiful flute melodies of „Ha felszáll a köd” (If the Fog Ascends),
which maintain the winning streak. Solaris is a band characterized by consistently
extraordinary melodic sense and a powerful, dramatic approach, holding a
high standard throughout the album proper. „Apokalipszis” (Apocalypse) and
„Legyőzhetetlen” (Undefeatable) are also overwhelmingly impressive.
The two bonus tracks are nice additions, but don’t overshadow any of the
album work in my opinion.
All in all, symphonic fans who would appreciate a harder, more metallic take
on their favourite sub-genre would surely enjoy The Martian Chronicles.
Greg Northrup
SOLARIS - Archive 1.
Back to the roots
PROGVISIONS - 2000
The Periferic label has had the great idea of releasing a series of 3 CDs
of unpublished material and non-released versions from the archives of SOLARIS.
In this review we present you the first of the series that contains pieces
from the period February – September 1980.
The trajectory of this great Hungarian group began in 1980 when several friends
from the university decided to form a rock band with creative and experimental
intentions. The passing of time would give a series of big albums such as
„Martian Chronicles” (a classic), the double 1990 or the most recent „Nostradamus”
(considered by many as their best work), all shining for their quality and
good instrumental displays.
To define the sound of SOLARIS is difficult as despite being disciples of
several classic bands of the genre, they present an undeniable own personality.
The instrumental base of their music are flute, electric guitar and synthesizers
that run away from the classic analogue sound of the progressive, moving
into an undeniably strong technological sound.
As for influences, we could mention the classic sound of bands like CAMEL
or PINK FLOYD, JETHRO TULL, YES, Hungarian folk and medieval music. The musicians
that played in these recordings are the deceased István Cziglán (guitars),
Róbert Erdész (organ), Attila Kollár (flute), Attila Seres (bass), Vilmos
Tóth (drums) and István Tereh (manager). The instrumental level is, as usual,
excellent and the bunch of songs included in the CD is very interesting.
The work, of roughly 48 minutes, contains five pieces of a diverse length:
„Revival” (11:54), „Counterpoint – original version” (4:33), „Solaris suite
(Ancient Viking-Solaris-Waves of the dune)” (18:53), „Distant fire” (4:21)
and „Undefeatable – 1980” (9:06).
Listening to the CD one realizes that certainly they all correspond to the
same artistic period of the band, as the general sound, structure of the
compositions and developments are extremely similar in all the pieces.
In general we should highlight a much rawer and rougher sound than that of
the albums the band would publish later on, much more primitive and next
to the seventies prog sound, mainly to Jethro Tull.
All the pieces come from recordings in concert that were arranged to be released
in the CD format, and the general sound quality is very good.
In spite of the similarity of the topics, the most interesting are the first
and suite of 18 minutes, with really incredible moments and a completely
happy audience. It is particularly interesting to notice that the musical
distance of this CD with the „Martian Chronicles” is very remarkable. The
weight of the music lies here in the flute and the guitar, while keyboards
are relegated at a second line and they are not so spacey, having excellent
interventions of the organ. The music is less lineal and has countless rhytm
changes, so musically speaking, this work is closer to „Nostradamus” and
Attila Kollár’s „Musical Witchcraft” than to the rest of the work of SOLARIS.
A very praiseworthy initiative of the Hungarian label, that I recommend mainly
to the fans of SOLARIS for whom this work is a must. It contains good music,
it transmits energy and positivism, and it provides a lot of information
on the origins of the band thanks to the inclusion of a very well documented
booklet. The best news is that there are still two official bootlegs to publish.
Jaume Pujol
SOLARIS - Nostradamus (Book of Prophecies)
ProgVisions – 2000. March
The Hungarian band Solaris was formed in the beginning of the eighties
and its first release, „Marsbéli krónikák” (1984), obtained a world-wide
progressive critic’s recognition.
Their music featured very dynamic keyboards, a powerful guitar and a predominant
flute that gave great originality to the group. The nearest references were
Pink Floyd, ELP, Camel and Jethro Tull. In 1990, the band recorded a double
LP and solo CD (with reduced duration) titled „Solaris 1990” that, in spite
of maintaining the level of quality, suffered from the incorporation of programmed
drums and percussion, which subtracted spontaneity and freshness to the music.
Finally, in 1996 the double CD „Live in Los Angeles” appeared, with a repertoire
coming from their first two albums.
December 27th 1998: the founding guitarist Cziglán István died suddenly,
and some months later the third studio album by Solaris saw the light, titled
„Nostradamus - Book of Prophecies”, dedicated to him. The substituting member
is Bogdán Csaba (guitars), who is helped here by the rest of the classic
line-up of the band, Erdész Róbert (keyboards), Gömör László (drums), Kisszabó
Gábor (bass), Kollár Attila (flute and vocals) and Pócs Tamás (bass), and
the honorary manager Tereh István. There is also a group of collaborators,
among which we should highlight the guitarist Varga János, a former member
of the progressive group East.
„Nostradamus” is a conceptual work dedicated to developing the relationship
amongst people and the flow of time. The music follows the co-ordinates of
the first phase of the group, although now certain influences from medieval
music, blues and jazz can be appreciated.
We could add that, in our opinion, the excellent solo album by Kollár Attila,
„Musical Witchcraft”, released two years ago, has influenced the evolution
of the Hungarians. The production is very correct, and the booklet artwork
is excellent, with detailed information on the theme of the album and the
band in general.
„I. Birth of visions” is the first track of the 3-movement suite titled „Book
of prophecies” (20:35). Here the musical patterns of the album are already
present: technological keyboards, polyphonic choirs that sing and recite
texts in Latin, and flutes closer to Jethro Tull and Focus than to Camel.
„II. Book of prophecies”, the second movement of the suite, is much longer
and develops the initial fragments, with a great presence of choirs, keyboards
and powerful guitars. Finally, „III. At the gate of eternity” concludes the
suite with acoustic motifs and a more slowed down rhytm. „The duel” (7:20)
is a dynamic track with many rhytm changes and a great work of the keyboards
(with some fragments reminescent of ELP), the electric guitar and the flute
a la Tull. The texts continue to be sung by a choir and are also written
in latin. „The lion’s empire” (6:40) is the fifth cut of the album, and contains
a repetitive flute fragment directly linked to the fourth track of the aforementioned
„Musical Witchcraft”. The bass work contributes perfectly to the development
of the song. „Wings of the Phoenix” (5:08) is a powerful cut with a great
flute performance that presents medieval influences at some moments. This
song is 100% Solaris, with multiple rhytm changes and complex structures
from the whole group of instruments, highlighting among them some very progressive
keyboards. One of the best tracks of the album. Next, „Ship of darkness”
(5:46) carries us into dark atmospheres, due to the choirs, which seem to
call for evil. The combination of instruments is excellent again, with an
interesting fragment with percussive games towards the end of the song.
Vocals lead „Wargames” (4:28), which also has multitude of effects (machine
guns, etc.) and a well done chorus. Tracks 9 and 10 are the suite „The moment
of truth” (6:40) which follows the patterns of the album, with the addition
of a saxophone and influences of blues and jazz. The album concludes with
the bonus track „Book of prophecies – Radio edit” (3:25), a short version
of the central song of the suite. that subtitles the album. It is not bad
at all, but I do not think it will become a hit single in commercial radios,
while if the reason of including it in the album is to be played in progressive
radio shows, these will probably prefer to play the complete version of the
piece.
„Nostradamus” is a good album which I am sure progressive fans will like,
as it contains quality music elaborated by good musicians and a wide range
of influences. However, in my opinion, the songs should have been worked
out a little more. There are not remarkable differences amongst them and
in some moments it seems that the musical discourse gets lost and does not
know how to carry on. If you are fans of Solaris, for sure you will like
„Nostradamus”. In case that you do not know the music of this Hungarian group,
I would recommend you to begin with „Marsbéli krónikák”.
Jaume Pujol
SOLARIS - Nostradamus
(Periferic Records)
HARMONIE
Magazine no.37 - 1999
Au milleu des années
80, SOLARIS était une figure mythique du Progressif international. Pensez-donc
, un groupe de progressif hongrois: c’était inespéré en ces temps difficiles
ou la conjoncture pouvait laisser croire que le Progressif ne pouvait etre
qu’une chimere des années 70 et que les années 80 allaient en etre la chronique
d’une mort annoncée. D’autant que leur formidable „Marsbéli Krónikák” entretenait
brillamment la flamme en 1984.
Et puis le progressif a vu sa flamme reprendre vie petit a petit tandis que
SOLARIS a continué a conserver dans l’esprit des amateurs du genre cette auréole
mythique, tout en restant dans l’actualité du Prog avec une récurrance tous
les quatre au cinq ans. Peu aprés la chute du mur de Berlin, c’est l’album „1990”.
Puis, en 1995, l’aura du groupe est telle qu’il est invité au Progfest de Los
Angeles, évenement commémoré par un double CD live. Et revoici donc SOLARIS
en 1999 avec un concept album sur Nostradamus, fin de millenaire oblige.
Malgré une carriere saltatoire et une oeuvre en pointillé, le groupe est resté
étonnamment stable. On retrouve a une ou deux exceptions pres les memes musiciens:
Attila Kollár (flute), Róbert Erdész (claviers), Tamás Pócs (basse), Gábor Kisszabó
(basse), László Gömör (batterie).
Seul István Cziglán (guitare) a disparu au bénéfice de Csaba Bogdán déjá crédité
sur 1990 et présent a Los Angeles en meme temps que Cziglán.
Par contre, d’un point de vue musical, SOLARIS a insensiblement fait évoluer
la tonalité d’ensemble de sa musique. Si auparavant SOLARIS semblait vouloir
traduire une forme d’optimisme musical avec une ouverture sur l’avenir (Marsbéli
Krónikák, Los Angeles 2026), assez paradoxalement la musique construite sur
l’idée des prophéties de Nostradamus semble traduire une sorte d’angoisse millénariste.
Les claviers „Space Rock” de Martian Chronicles, les passages oniriques, les
rythmes guillerets inspirés de danses slaves semblent avoir été rangés au placard.
En revanche, les choeurs grandiloquents mais angoissants, des rythmes lourds
et pesants complétés par des accords de claviers suggestifs d’une tension, la
récurrence d’un motif mélodique incantatoire font de „Próféciák Könyve”, la
longue suite de vingt minutes, un moment de malaise: neurasthéniques s’abstenir.
Le reste est du meme acabit. „A Párviadal”, malgré une rythmique plus légere
et une flute virevoltante, se termine par des choeurs dignes de Magma: stressant.
„Az Oroszlán Birodalma”, c’est un peu les Kinks de „You Really Got Me” a la
sauce progressive: jolis unissons de guitare électrique / flute traversiere
entrecoupés de riffs carnassiers de guitare. En fait, quel que soit le morceau,
on y trouve toujours des éléments musicaux suggestifs d’angoisse: écoutez dont
„Wargames”, sorte de gothic progressif non métallique.
Du coup, SOLARIS pourrait presque faire figure d’anti After Crying. Mais il
n’est pas question ici de vouloir opposer les deux formations. Tout cela, c’est
du talent et du
savoir-faire, avec une production parfaite en la circonstance: une oeuvre ténébreuse
et sombre qui s’éloigne de l’image habituelle de SOLARIS.
Déconseillé les jours de grisaille et de spleen.
Philippe GNANA
Original article
(JPG) >>