Solaris - 1990 (1996)

"Beautiful instrumental progressive rock music from Hungary! This is one of my favourite! The 2 CD set contains unreleased Hungarian Radio and live sessions recorded during the 1970's. Beautiful flute, guitar, organ and synthesizer sounds. Camel's Moonmadness and Raindances could be the closer relatives of this music but it has an absolutly own style and sound. I can warmly recommend it for all the prog-rock fans!

By feketezs

Many years ago I ordered the 2-LP "1990" in the USA. But they send me the CD-version on which the 'side-long-track' "Los Angeles 2026" had been deleted! What a disappointement but fortunately a few years ago I managed to purchase the reissue 2-CD "1990" , including some fine bonustracks and… the lost track "Los Angeles 2026". It contains dynamic and propulsive with spectacular synth runs, fiery electric guitar and beautiful flute-play. Remarkable is the spacy keyboard sound in some songs and the obvious classical influences. The tracks from the mid-period (1986) sound rather accessible: a catchy and often funny combination of classic, pop and rock. But the most impressive composition is their 'magnus opus' Los Angeles 2026 (almost 24 minutes long). It opens with alarm sirens and SF sounds to evoke a menacing atmosphere of a future Los Angeles. Then it starts to swing with propulsive guitarplay, powerful drums and some funky bass-play, followed by lots of changing climates and short pieces with modern keyboards. Suddenly a mid-long solo piece from the piano begins, from tender to sparkling until the captivating interplay from electric guitar, flute and keyboards takes it over, enjoy the spectacular synthesizer flights! A howling electric guitar and bluesy organ is next and then the 'essential Solaris' appears again with splendid interplay between the fiery electric guitar, swirling flute and spectacular keyboards (Manfred Mann meets Jethro Tull and Focus). Slowly the same climate as during the intro returns, topped by a fat synthesizer sound. I hope that once the video Progfest 1995 Day One will be relased on DVD, it contains almost 30 minutes of Solaris playing live, EXCELLENT, what a STUNNING PROGROCK BAND!!

by erik neuteboom

Solaris Biography

Hungarian progressive rock band Solaris got its start in 1980. The group was formed by István Cziglán (guitar), Róbert Erdész (keys), Attila Kollár (flute), Attila Seres (bass), and Vilmos Tóth (drums). They took their name, and the content of all their songs, from classic science fiction. They released their self-titled debut the same year. Other musicians who have made their way into the Solaris camp at varying times include Csaba Bogdán (guitar), Tamás Pócs (bass), László Gömör (drums), Gábor Kisszabó (bass), and Ferenc Raus (drums). During the course of their career, Solaris has released a number of other albums. Those albums are Marsbéli Krónikák – Martian Chronicles (1984; reissued as Martian Chronicles in Japan in 1989 and also reissued in Hungary under the original title in 1995), Solaris 1990 (1990), Live in Los Angeles (1996), Nostradamus (1999), and Los Angeles 2026 (2000).

by Gary Hill, allmusic

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). The line-up in the early Eighties was Ferenc Raus (drums), Gabor Kisszabop (bass), Csaba Bogdan (guitars) and the remaining schoolfriends Istvan Cziglan (guitars), Attila Kollar (flute) and Robert Erdesz (keyboards). 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! The classical SOLARIS line-up' between '83 and '85 was Attila Kollar, Istvan Cziglan, Robert Erdesz and newcomers Laszlo Gomor (drums) and Tamas Pocs (bass). 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 real "symphomaniacs"! 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 but he can be heard on the surprising new SOLARIS CD entitled "Nostradamus" ('99), perhaps we will hear more from this marvellous progrock band. The Hungarian label Periferic Records released in 2000 "Back to the Roots - Solaris Archive 1" (a great introduction to the band's history but with a bootleg sound) and the solo-albums "Musical Witchcraft" by Kollar Attila (1998) and "Seven Gates of Alhambra" by the late Istvan Cziglan (1999).

On "The Martian Chronicles" SOLARIS creates a very dynamic and compelling progressive mix of classical and rock music. It's build upon sensational interplay between fiery electric guitar, tasteful keyboards and a powerful flute with lots of changing climates, surprising breaks and bombastic outbursts. Although SOLARIS sound rather unique, elements of JETHRO TULL (flute), MANFRED MANN'S EARTH BAND (Minimoog solos with pitchbend) and Jean Michel JARRE (electronic intro in the first part of the titletrack) can be traced. The 2-LP 1990 contains typical SOLARIS songs: dynamic and propulsive with spectacular synth runs, fiery electric gutiar and beautiful flute-play. Remarkable is the spacy keyboard sound in some songs and the obvious classical influences. The tracks from the mid-period (1986) sound rather accessible: a catchy and often funny combination of classic, pop and rock. But the most impressive composition is their magnus opus "Los Angeles 2026" (almost 24 minutes long): lots of changing climates, bombastic synthesizers, exciting interplay, compelling crescendos and halfway a long and alternating pianosolo. The songs on the live 2-CD "Live in Los Angeles" sound even more powerful and exciting than on the studio-LP's and the bonus material is great: Bonus Game (14 minutes) includes lots of solos on guitar, drums and bass and "Beyond" (12 minutes) is a typical exciting SOLARIS track.

"Nostradamus - Book of Prophecies" is a captivating album in the vein of SOLARIS but with fresh ideas and a modern sound. The titletrack contains outstanding sonic paintings: a howling electric guitar, fat Moog Prodigy runs ("Mark Kelly meets MANFRED MANN"), native North-American indian chants and the Aboriginal didgeridoo. The other songs includes elaborate and dynamic compositions with many changing climates, spectacular breaks, splendid solos and sensational interplay. A "killer-comeback" by SOLARIS!

~ progarchives