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!

After Omega, Solaris is most probably the longest on-going Hungarian prog band (with Android not far behind), consistently releasing a long stream of six studio albums that are not only highly rated by the prog fan community but also with critics and reviewers worldwide. The first Martian Chronicles appeared as their debut album in 1984 (nice timing) and immediately causing quite the sensation, still mentioned regularly 40 years later! The second chapter surfaced in 2014 and now 10 years later, here comes the freshly minted "III: or A.I.", a double CD spanning nearly 82 minutes. The band has remained pretty much intact, with the sadly departed Istvan Cziglan still a member spiritually, having passed away in 1998. Still directed by flutist Attila Kollar, Robert Erdesz on keyboards, guitarist Csaba Bogdan, Gabor Kisszabo, Tamas Pocs and Attila Seres as bassists as well as drummers Laszlo Gomor and Frenc Raus. Martian Chronicles III is composed of there long suites, a Solaris trademark that has never fallen out of style, maintaining their long-standing reputation for premium sci-fi based symphonic prog.

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

Chronicles of a legacy.

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

Solaris, the sixth album, is a triptych that delves into the 70s, seeking the atmosphere and sound, and bringing it back, toned down, boosted, and descaled, to 2024, to better confront the science fiction of tomorrow.

"ZOO Galactica" and its symphonic-cosmo-romantic intro; a solemn, classical beauty with a majestic flute- keyboard duo. "Shadows Of The Creators" follows, with the sound of muffled pads, fat synth with a guitar arpeggio, heavy beats, and a flute blast à la Ian; a cinematic, contemplative space leading to bliss. "Guardians" continues with Róbert's sharp riff and fiery keyboards. The melting pot of old and new revisited through the story of our robots taking power. "I or A.I.", a Serra-esque pad, an 80s pop melody reminiscent of Tears For Fears, all the delicacy of the atmospheric, medieval nursery rhyme à la Candice Night; a classical beauty blown out all at once with the Purple keyboard, the much more edgy Overhead-esque flute, and Csaba's haunting guitar. "Inflection Point," with the piano, stands as a bulwark against electronics in this AI world. The rhythm navigates between the carnal, colorful, and rich air of a jazzy variation for a musical duel that passes like a spatial letter on this perfect first instrumental outburst.

"Ballad Of Deluge Suite" and the Olympian "Prologue" with trumpet, neo-classical with timpani and melting choirs; a consensual bucolic space ballad. A second Balkan choir creates confusion, sung with guitar commanding respect at the finale. "Island Of Survivors" takes us into a hot jungle with an old-fashioned slide and a dizzying keyboard-flute riff. Invigorating choirs, the flute scratching the ear, vintage noise boosted with this southern cacophony, cowboys against aliens. The church organ captivates before the thunderous guitar solo flirting with Oldfield, smelling of the old madness of Focus with the reverberating synth; we are ready for the duel. "The ARK" approaches jazz rock with the twirling piano and the captivating choirs. The guitar-flute battle is energetic, a modern rock with reminiscences. "Ballad Of Deluge" Dire Straits chords, Deep Purple-style timbale, King Crimson. Asian atmosphere, Hungarian vocals and tear-jerking guitar, the cello melting. This ballad moves into a dreamlike, overwhelming and grandiloquent Rondò Veneziano.

"Dream Valley Suite" with "Welcome To The Collapse" is an acoustic preamble and a couch potato duet, almost cloying, with the voices of the Corrs. "Nightmares" is a fitting nightmarish intro. The redundant, low keyboard, the Japanese air in return, setting off a Jethro Tull-Overhead musical melting pot. The drum stutters like a galloping horse, the church organ injecting emotion, and the agonizing bass for the instrumental, which sets the stage ablaze with Csaba's bewitching guitar firing like a sinister western. A cinematic soundtrack in a frenzied coda. "Future Memories" bursts forth, keyboards, synths, mezzo-soprano voice soaring with the electronics. The guitar arpeggio melts with scattered notes; a warm, hypnotic musical cinema. "Golden Raven" for the interlude with basic spatial sound effects, the vibrating synth, the heavy guitar in the distance, Bregovic's regressive Balkan flute; captivating. "Dream Valley" is more digital, electronic to the point of suddenly hearing Space, Daft Punk. A very serious fretless bass break, energetic percussions bring the atmosphere of traditional balls from the time when music was still beautiful. The electronic and gypsy air, a melting marshmallow romance. The incomprehensible chanted vocals with the metronomic violin continue the hypnotic effect. "Paradox" and the presence of Attila, a flautist disrupting musical codes, sprinkling here and there his elven notes; the series of belched sounds taken as instruments, the Hispanic melody prolonging the cinematic effect before the finale with the wah-wah guitars like in the good old days, idyllic. The musical madness is palpable, with the final vocoder vocals reminiscent of Tangerine Dream. "Monument" has a Vangelisian sound, a solemn aria for the Olympian march with celestial choirs. "The Last Poem" is the outro, a final clap, a Hungarian poem bathed in an ethereal stereo keyboard sound, while the flute seeks out those lost on this long, astonishing journey.

Solaris offers a personal soundtrack to an imaginary film that will replay in your mind.(4.75)