Solaris, Hungary

Progressive rock

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Latest: Martian Chronicles III (I or A.I.) (2024)

Nostradamus (1999)

For my tastes, Solaris' 1990 is one of the greatest post 70s progressive rock albums there is. There was a magic about it that captured my imagination greatly when first released, and it preceded even Anglagard in that this whole prog rock revival thing might be worth staying around for. Of course the debut Marsbeli Kronikak is table stakes for any 80s progressive rock collection. Then I saw Solaris live in Los Angeles and was mightily impressed.

It is with this background that I came into Nostradamus with. And while the great prognosticator had been played out already, who better than Solaris to elevate it to the highest level of art? For me, this was one of the most anticipated albums I can ever recall.

Hmm. It just didn't happen. I recall vividly my first impression. I was nonplussed. Not disappointed mind you, just not wowed as I expected to be. Of course it's often time nigh impossible to meet such a lofty, perhaps unrealistic, goal. My Gnosis grade in real time was a 10 (a 3.5 here). And into the collection it was filed after a couple of earnest attempts of "feeling it". And now, I finally have brought it back out from the vaults for a revisit. Here's where I'm going to tell you my tastes have changed, and I have a whole new appreciation for it right? Nope. It remains a 3.5.

The odd thing about Nostradamus is it sounds very much like Solaris. I wouldn't chalk it up to the sudden tragic death of guitarist Istvan Cziglan. Even more bizarre is that the opening 3 'Book of Prophecies' tracks are the weakest, which comes completely unexpected. There's a hollowness to the overall sound here. It's big and bright, and very much a product of the 90s. But it isn't exactly like 1990 was an analog dream. In fact quite the opposite. If it not for the brilliant flute work of Attila Kollar, the album wouldn't be as good as it even is. But his brilliant phasing, melodic disposition, and overall tone is hard to beat. At this point, he seems to be Solaris. And it comes as no surprise he later ventured on his own for two more albums that surpassed Nostradamus in quality.

I want to be clear here: This is not a bad album by any stretch. But the Solaris name is highly revered in the ashratom world. And this one came up short. Perhaps I should have predicted it. The protagonist would have. Or would have he?

---5/7/17

Marsbéli Krónikák (1984)

If you ask a hardcore progressive rock fan what the worst decade of music was, "The 80s" is the automated response. And while I'll stand by that same position, a deep dive into the decade gives us another perspective. 1980 was in reality an extension of the 70s artistically speaking. 1981 to 1983 held plenty of wonderful privately released progressive rock gems primarily from France, Scandinavia, USA, and Germany. Not to mention the promise the original New Wave of British Progressive Rock once projected. And then from 1987 onward, we experienced the renaissance that continues to this day. But the real barren years did exist in the middle - 1984 to 1986 was a graveyard for traditional progressive rock. Fans of fringe areas - like avant prog - will counter that it may have been the golden age as bands like Univers Zero and Present were at their peak. And of course other genres, like heavy metal and various forms of electronic, were also experiencing new high water marks. But if you wanted 70's styled symphonic prog, well it was going to be tough sledding for sure.

I bring this point up in a Solaris review, because Marsbeli Kronikak is the gem in the rough - the very best symphonic prog album in that three year time frame. Isolated in still Communist Hungary may have played a role in that - not to mention a relatively more lenient regime in regards to the arts than other Iron Curtain countries at the time.

Recently I had reviewed Tako's second album, and talked about symphonic fusion - a genre that isn't recognized today, but was frequently referred to 25 years ago and beyond. And that's exactly where you'll find the music of Solaris. The primary difference here is the copious use of sequencer based electronics that lay the bedrock for the symphonic progressive music on top. Attila Kollar's flute is magnificent as ever,and he often drives the instantly-recognizable Solaris style melodies. Istvan Cziglan's hard edged guitar, and Robert Erdesz's fine synthesizer work round out the leads.

For us prog fans back in the mid 80's who were desperate for quality 70s styled progressive rock, Solaris was a godsend. In retrospect some 35 years later - they still are.

---5/28/18

Other albums heard: Solaris 1990; Back to the Roots (2000 archival); NOAB (2005 archival); Martian Chronicles II (2014)

11/29/24 (new entry)

Great Wide Nothing, USA-Georgia

Progressive rock; Neo Prog

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Latest: Hymns for Hungry Spirits, Vol. II (2023)

The View From Olympus (2019)

Great Wide Nothing are from Atlanta and clearly embrace progressive rock at its early 70s UK major group peak. Classic Yes and Genesis seem to be front and center and the vocals have that distinctive Fish neo prog edge to them. I like the woody bass sound, something that should be required for any up and coming prog group. Piano, organ, and analog synthesizers are also part of the recipe. And some fake mellotron. This is one of those oxymoronic retro / neo prog type acts. The standard bearer for such a phenomena would be Cliffhanger, that most wonderful Dutch band that largely went unnoticed. Good start here! Will check out their other albums eventually.

---11/24/24

11/24/24 (new entry)

Pocket Size (Stockholm), Sweden

Retro prog; Space rock

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Latest: Att G​ö​ra Kompisar (2022)

Pocket Size is still performing live as of this past summer.

Immortality: Cleaning the Mirror Volume 2 (2018)

Pocket Size is a band that I got in on the ground floor with and dutifully documented their first two albums enthusiastically. My initial reaction to this album wasn't as positive as the other two, and I didn't take any notes. So now some five plus years later, let's dive in. The album was recorded live in 2016 in front of what sounds like three people. As with their other albums, this isn't a solo endeavor but rather a full band effort. And early 70s instrumental prog mixed some space rock jamming is what you can expect here. There's a touch of the jazz rock style as well. I think this may have been one too many cleaning the mirrors for me. Not getting the same vibe as I did out of the other two. Also not very Swedish, more generic in terms of region. A fine album, but I have enough of this kind of style from the 70s.

---11/24/24

Vemood: Cleaning the Mirror Volume 1 (2016)

Pocket Size have perfectly captured the essence of being alive in 1973 Sweden. Cigarette and marijuana compete for your olfactory senses, but your eyes water no matter the substance. You, of course, recite the Manifesto of the Communist Party verbatim, but only because you think you might get laid if you do. Otherwise King and Country works too, whatever. Progg, hell yea! Or not... who cares? Images of perfectly formed naked breasts shine ever so perfectly as you gaze blindly from your flat. Vemood is your soundtrack to your dream night in Stockholm. Long track Hammond organ jams that battle with saxophone, flute, and loud electric guitar. And even a melody to whistle to while waltzing down Drottninggatan. Ahhh.

---6/30/17 

Exposed Undercurrents (2014)

Contemporary 2014 Sweden is loaded - and I mean loaded - with rock bands emulating the sounds of the early 1970s. Most are of the US/UK hard rock variety, or they go for that "turn the amps to 11" stoner pseudo-metal sound. There are fewer bands that are making a try for the true progressive rock era sound of the early 70s era. I don't mean the all-in-proggy-prog Anglagard type either, but rather the more common sound of the day coming from Sweden like November, Saga, Flasket Brinner, and Trettioariga Kriget. There's a real psychedelic element to Pocket Size's sound as well, and that can only be considered a plus to the UTR's world.

The band themselves seem to possess a confused identity. In effect, the group is the vision of guitarist Peter Pedersen. Depending on which site you are reading (including their own), you're likely to see the band listed as Pocket Size, Pocket Size Sthlm, or Pocket Size Stockholm. No matter, as what's most important is that Pedersen brings in no less than 9 participants for his creative work. So this isn't a solo work with a monolithic viewpoint - or worse - a sterile digital sound. Not even close. What you get here is exactly what you would expect from a studio effort circa 1972, complete with all the requisite analog instruments and a certain je ne sais quoi attitude. Hammond organ, saxophone, electric guitar with a multitude of effects, spacey vocals (much of it in glorious Swedish), theremin, vibraphone, and flute give one an idea of what to expect. Put that together with a planned structure and a few melodies, a handful of complicated breaks, and some solo sections. This was the way music was presented years ago, when the last thought on Earth was obtaining a radio hit or falling in line with whatever scene a band was perceived to be associated with. A knowledge of jazz, classical, blues, and early rock and roll was all that was needed - and a strange desire to actually progress from there. Give me more of this.

---11/21/14

11/21/14 (new entry)

Quantum Fantay, Belgium

UK Festival styled psych; Space rock

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Latest: Oneironauts (2024)

Oneironauts (2024)

I keep saying I'm not going buy new albums in styles I already have well covered in the collection, especially by bands that I own eight albums from already. But I was in the right mood, and Quantum Fantay were one of the highlights of the last decade, so why not order one more on last call. Besides it's been five years since their last album, telling me they might be more energized and creative this go round. Interestingly enough they open the album just as they did on their last Yemaya Orisha, where I stated: "The opening title track could be considered "typical" (but still very good)". What I mean by typical is their patented Ozric Tentacles interpretation of space rock. Though unlike the prior album, they didn't open the flood gates on the second track. At times I felt the music to feel too formulaic. But as the music kept spinning, my head continued to bob and I found myself getting immersed into their fiery brand of space rock. The title track even borrowed a couple of riffs from the almighty Bridges of Kukuriku. Quantum Fantay are to be credited for keeping their compositions from wandering off into the weeds, and always keeping an eye on melody. The elaborate ornamentation of sequencer based electronics and synthesizers space gazing add the proper atmosphere. Rhymically, Quantum Fantay often move beyond 4/4, and get complex at times. Such a great band really. Will this be the last album I buy from Quantum Fantay? I say yes. But that's what I said last time.

---11/24/24

Yemaya Orisha (2019)

Quantum Fantay proved to be one of my favorite bands of the 2010's, perfectly capturing everything I like about the Ozric Tentacles sound. They filtered out the reggae and lengthy ambient pieces, while going for the throat on high octane space rock. Yemaya Orisha is their 8th, and to date, last studio album. By now I just have too much of this kind of thing, and I'm weeding some out. But I'm not sure though if any of the Quantum Fantay's will be touched. The opening title track could be considered "typical" (but still very good) and I was thinking this may have been one purchase too many. But 'Mami Wata' packs a wallop, and hits all their trademarked qualities: Ferocious guitar chords, flute melodies, synthesizers galore, and insane rhythmic work. They maintain this pace on 'Riddles of the Sphinx'. By now the last two tracks could be country and I wouldn't care. But of course they're not - just more Quantum Fantay goodness. It's highly likely I stop here with the band - presuming they continue - unless it's essentially given to me. But what a run they had for 15 years.

---11/24/22

Tessellation of Euclidian Space (2017)

Their 7th album is, to date (2024), the only album by Quantum Fantay that I didn't connect with. It's more ambient / electronic, and can get clubby in places. I think 3) is really great and 5) also captured my imagination. There's some space whisper Gong and Pink Floyd references this go round too. I can't blame the band for wanting to extend their palette of sound, but it doesn't always work for each listener. For some, this may be their best effort. I'll keep working on it.

---2/18/24

Dancing in Limbo (2015)

Quantum Fantay have always been a Masters Class course at the Ozric Tentacles University. And on their 6th studio effort, Dancing in Limbo, yet another thesis has been proposed and accepted. So much so, that the professor himself - one Ed Wynne - even guests on the album! If you're the sort that appreciates Ozric Tentacles most in full blown space rock mode with fiery guitar solos and fluttering flute, meanwhile constantly twisting and turning with jumpy rhythms, then Quantum Fantay will certainly blow your socks off. I'm of that sort, and my socks are missing. Dancing in Limbo earns Quantum Fantay yet another "A".

---11/4/15

Terragaia (2014)

So exactly how would Quantum Fantay follow up the brilliant Bridges of Kukuriku? It would take four years to find out, but the band has finally reappeared with Terragaia, and the CD (that's right - a CD - remember those?) is housed in a fine triple fold out digi-pak. I would say that Quantum Fantay have found themselves back to their roots of Ozric Tentacles' inspired space rock. Unfortunately, there aren't any of the hair raising, head turning moments of the last two albums to be found. However, let's not get carried away and start pointing fingers as if this is some kind of failed effort. Hardly. The music here is as brilliant as Ugisiunsi, but with a distinct Middle Eastern and Chinese theme running throughout the melodies (and some snippets of Caribbean and Celtic music too). There's so much to admire about Quantum Fantay in the studio - and their variation of the Gong You era is as fine as anyone as ever realized, including Ozric Tentacles themselves. So what you have is the usual fiery guitar solos, flute overlays, bubbling synthesizers, and hyperactive rhythms that you expect - and want - from the genre. Quantum Fantay are money, man. I'm already looking forward to the next release!

---6/27/14

Bridges of Kukuriku (2010)

I've been a fan of Quantum Fantay since their first album. All are very good variations on the Ozric Tentacles sound. But I wasn't prepared for the greatness that is Bridges of Kukuriku. Everything about this album is exponentially better than prior efforts (and that's saying something). Whether it's the production (listen to the panning from speaker to speaker as if Dieter Dirks himself took the controls), the instrumental interplay (crisp and tight), the energy level (extremely kinetic) - or just the general exoticism surrounding the compositions. And this has real melodies, something you can actually latch onto and remember, rather than just a technical exercise in musical theory. The amazing transition from 'Follow the Star' (track 2) to 'Shiver Moments' (track 3) and the subsequent blitzkrieg of said track practically gave me a stroke. Music like this is truly exciting, as you never know what will happen next, and yet it still rocks hard in a psychedelic way. Ozric has never come close to fully realizing an album like this. We're in the rarefied territory of those Finnish groups Hidria Spacefolk and Taipuva Luotisuora. This album is absolutely brilliant and will most certainly be considered one of my personal favorite albums of the entire 2010 decade.

---9/14/12

Kaleidothrope (2009)

After the great success of Ugisiunsi, Quantum Fantay return with Kaleidothrope...  ...and serve notice that they are serious and are here to stay. The jumpy sequencers, fluttering flute, hyperactive rhythm section, and - best of all - pyrotechnical psychedelic guitar work, are here in abundance. All of this while never forgetting that melody is truly important to a great composition. Not to mention the constant shifting of themes, meters, and dynamics. Final track 'Telepathy' is a monster and needs to be heard by all. And to think they would actually improve on their next album. Wow! If there's a criticism of Quantum Fantay, it's that they veer too close to Ozric Tentacles. And while that may hold true, one should know that it's more like Ozric extract: All the good stuff is filtered in while leaving the chaff out.

---9/14/12

Ugisiunsi (2007)

While the debut Agapanthusterra could be considered another Ozric album, the sophomore effort Ugisiunsi utilizes to a greater extent other music vehicles like flute (in more abundance than the debut), sequencer based electronics, and haunting wordless female voice, thus adding color to the usual guitar / keyboard rave-ups. The guitarist (from Srdjan 'Sergio' Vucic, in his only stint with the band) adds some metal crunch at times, recalling the Dutch group Kong. And the solos are Ed Wynne-esque in their intensity. Like Hidria Spacefolk (Finland), Quantum Fantay also display a penchant for progressive rock themes and complexities – something that Ozric did more frequently in their past with songs like ‘White Rhino Tea’. Tracks like 'Snowballs in Ghostlands' show Quantum Fantay were capable of writing beautiful melodies as well - moving beyond the usual "if you can't find it, grind it" mentality. At this point in their career, Quantum Fantay looked to be a major force in the space rock circuit. And as it turns out, they ended up being just that.

---9/12/12

Agapanthusterra (2005)

Agapanthusterra is Quantum Fantay's most Ozric Tentacles-like album - right down to the reggae bits. That said, the compositions are entirely unique and offer one more perspective of an already great formula. On this debut, Quantum Fantay were a four piece with synthesizers, bass, drums and flute. Guitars were performed by a guest of the band (who would later join as a full time member on their 3rd album Kaleidothrope), but despite this designation his participation here remains a centerpiece to their overall sound. Best tracks are the heaviest rocking pieces 'Lantanasch' and 'Chase the Dragon'. Worth noting that the final track 'Amoevha' is hidden and not listed on the CD itself.

---9/11/12

9/14/12 (new entry)

Halloween, France

Progressive rock

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Latest: Psy-Ko (2024)

Another band from the great late 80s and early 90s period that has unexpectedly reformed. It's been close to 25 years since we last heard from them.

Part One (1988)

One of the early groups coming from the French renaissance of progressive rock. I bought the LP not long after it came out. Like many such bands, one had to have tolerance for modern production values and a high level of amateurism. By that time I was such a huge fan of the genre, I was willing to overlook all of the flaws. Clearly the band were trying to emulate on some level the great Pulsar, but fell well short. They were to improve greatly after this. In any case, I was pretty much ready to dump this CD after all these years until the last 2 tracks, where the band finally hits their stride. And that's 15 minutes worth of high quality material. The CD is the way to go here, because the two live bonus tracks ditch the poor production while the quality of the musicianship and compositions come to life. My grade remains the same, but it moves into the solid keeper category.

---4/17/23

Other albums heard: Laz (1990); Merlin (1994); Le Festin (2001)

11/24/24 (new entry)