Solaris
Marsbéli Krónikák

THE REVIEW

The Solaris (a Hungarian band formed in 1980), as can be inferred from their name derived from Lem's novel and especially from Tarkovsky's masterpiece film, have always been fascinated by science fiction and space. "Marsbéli Krónikák" (Martian Chronicles - you don't need to know Hungarian to translate it) released in 1984, without getting lost in meticulous rankings, in my opinion, is one of their best works. It is an entirely instrumental album, attributable to the "Space Prog" genre, consisting of a long opening suite divided into several parts, clearly of progressive classical origin, and the subsequent tracks averaging 4 minutes in length. The legacy of classic prog is present and noticeable (especially in the use of the flute and acoustic guitar, which, in spacey and futuristic settings, may seem inappropriate, but they are not at all), but regarding the rest of the instruments, the arrangements, and the atmospheres, we are perfectly contextualized in the eighties. Electronic sounds are very present, the drums and keyboards characterize precisely that decade, and even the electric guitar has a contemporary rock setting. The overall technical quality is very high, and the tracks of the album weave through fast-paced and pulsating rhythms, pauses sweetened by the flute, and peaks of recurring and marked guitar riffs.

"Marsbéli Krónikák" is a very rich, compact, and varied album, but the variety doesn't lie so much in the difference between one track and another (honestly all a bit similar to each other), but in the various moments within the individual pieces. The initial suite, which gives the album its name, begins with unsettling cries, accompanied by a compelling rhythm, then softens in the second part, until it reaches the climax where the electric guitar comes in forcefully. To enhance the feeling of an epic saga, "choirs from space" intervene here and not only, conceptually not far from the early "Pink Floyd style." More or less, the rest of the album follows this pattern. I would like to highlight the tracks "M'ars Poetica," initially gentle finally poignant, the very fast "Ha Felszáll a Köd," and the closing track "Solaris," a sort of ultimate condensation and farewell, well-balanced and engaging.

My judgment cannot be anything but positive for this science fiction epic, which is appreciated for its technique and style. An excellent example of how, sometimes, music alone is enough to evoke with incredible clarity and suggestion what one wants to convey.