Track Listing

1. Terminus
2. Junk
3. Glamourama
4. Mine to Give
5. Can't Come Down
6. Infinity
7. Solaris
8. Aura
9. Halogen
10. Lost Blue Heaven
11. Under the Palms

Product Details

• Amazon Sales Rank: #754008 in Music
• Released on: 2000-09-19
• Number of discs: 2

Album Description
Photek producer Rupert Parkes moved on to embrace Chicago acid house and minimal techno for his 2nd release 'Solaris'. Parkes made the acid house connections direct by enlisting help for two vocal tracks from Chicago institution Robert Owens (Fingers Inc.). The first Owens track, 'Mine to Give', attacks with suprisingly unwavering beats and a rumbling bass line straight out of the Windy City sound of the late '80s. 2000 Astralwerks release.

Amazon.com
It may come as a shock to the purists, but after two albums of pushing abstruse drum & bass to minimalist and epic extremes, the producer has thrown a heap of new sounds onto his percussive palate. To some, Solaris is going to sound like a chicken in search of a roost: both "Can't Come Down" and "Mine to Give" are pure 1988 old-school tracks that even feature that era's legendary vocalist, Robert Owens. "Terminus" and "Junk" pay loose homage to the nu-school breakz template, while "Halogen" and "Lost Blue Heaven" are beautifully poised, damaged electronic torch songs. There's even some drifting ambiance too. But what's missing in terms of coherence is more than made up for by the visceral power of Photek's production. Intense, stripped back, and wielding more brute force than Leftfield's Swords, there's a menacing beauty at work here that reinforces Photek's reputation for tingling sonic sculpturing on a grand scale. --Calvin Bush

About the Artist
Does tracks for John Digweed's compilations as well as other DJ's in UK.

Customer Reviews

Aeons geography
Some of the previous reviewers here seem to disparage "Solaris" in favor of Photek's prior work and drum 'n' bass in general. However, by labelling this album as a lackluster revamp of Chicago-based house music, they are not only unjustly describing the content of "Solaris", but also doing a disservice to potential audiences. The best aspect about this album is that it moves between several genres quite seamlessly, representing post-millennium electronica at its very finest - smart, melodic, and propulsive. Despite the music's technological mastery, which occasionally winded up sounding too carefully constructed and mechanical on previous albums and EPs, "Solaris" has a pleasant human dimension and is, on the whole, very listenable. There may be a few housy tracks, but even in these pieces you'll find a lot of elements which are distinctly Photek. "Terminus", the first single, starts with these droning, Eastern-tinged bass punches only Photek knows how to create, building an excellent track which is, like many other pieces here, both serviceable for the dancefloor and for home listening. By the way, the grinding sample of "Terminus" is taken from Autechre's "Rotar" (off "Tri repeatae"). "Junk" shows a completely new side, blending clanging percussion and acid sequencers - almost like 'Joey Beltram meets Roni Size'. The next three tracks, "Glamourama", "Mine to give" and "Can't come down", are more relaxing if also unremarkable. Robert Owens lends a definitely 'black' and soulful feeling to "Mine.." and "Can't..", but these tracks are extended too far and lack the unpredictability of Photek's best work. Thankfully, "Solaris" begins to live up to its title once the album's first half is over. Subsequently, the music simulates a nocturnal journey across bleak, moonlit landscapes, worth of comparison to Autechre's psychedelic masterpiece "Incunabula". The 8 1/2-minute "Infinity" provides some of the best moments, with an extraordinary interweaving of grinding sequencers, harsh breakbeats and pearling melodies; it also features a strange, sequenced "Yeah!" sample which becomes a little too intrusive at times. "Halogen" and "Lost blue heaven" offer heavily echoed, pounding trip-hop beats and tranquil melodies, but the otherworldly atmosphere and menacing undercurrents set them apart from Photek's earlier ambient tracks such as "124" and "T.Raenon". The 47-second "Aura" is a nice interlude, and "Under the palm" closes things on a majestic, wistful note. There's no doubting the quality of the release. Had Photek simply continued along the d'n'b path, it would not only have resulted in a self-referential and outdated album, it would also have lacked the great variety of styles we hear on "Solaris". Although it always takes Photek a few years of work to complete his albums, it's easy to understand why when the results are this compelling.

if this is bad then I can't wait to hear the good stuff!
i've never heard of photek.

then one day i stumbled upon 'solaris' at the music store and was instantly taken by the CD for two reasons: 1)the CD cover, a cerulean blue sky meeting a cerulean blue sea in some far off exotic locale was the most gorgeous CD cover i've seen in a long time and 2) the CD title 'solaris' is the name of one of my favorite foreign sci-fi movies. so warily i shelled out the fifteen bucks for it, popped it in my stereo and was immediately suprised by what i heard.

judging by other reviews, die-hard fans are saying he's selling out with this release and i don't know if he is. if 'solaris' is any indication of what he's capable of doing then the man is a genius.

'terminus' is a weird track i liked the moment i heard that familar yelping synth sampled from autechre. two sets of conflicting yet complimentary jungle beats battle it out over a lot of synth keyboard.

'junk' is my favorite track w/ it's throbbing warbled bassline, a trippy jungle beat and the word 'junk' repeated at intervals. i can never sit still when i listen to it. this track is the closest thing to perfection on 'solaris'.

'infinity' is true d'n'b and sounds a lot like roni size w/ a little bit of u-ziq thrown in for good measure (maybe it's all those rising strings that make me think that).

'lost blue heaven' is like a dragged down, slowed up version of the orb's 'plum island' even down to the echoed out bjorkesque vocals. drifty, dreamy dub.

'solaris' is another track of pure perfection. a throbbing house beat doubled back on itself that you can feel at the bottom of your belly with an eerie melody and a weird solar wind effect (possibly a sample from the movie 'solaris'?). if swayzak did dark menancing house tracks this would be it.

'glamourama' sounds like filler to me. minimal trance stuff i danced to at early 90s raves in san francisco. a repetitous beat, 4/4 claps, hi'hats and some gal rambling on and on in french. YAWN.

i also have to admit the two actual 'house' tracks on here, 'mine to give' and 'can't come down', are pretty weak (although robert owens has an awesome voice, it just doesn't quite gel with photek's beats). of the two, 'mine to give' is the best. it's turer to the stripped down minimal Detroit techno grooves associated w/ a lot of house music which is probably why it's one of the singles off this release. in any case it's still good stuff.

i know i will definitely buy photek's previous releases. if this is considered his worst 'sell out' CD, then i can't wait to hear what's considered to be his best.

real music
jungle + house + breakbeat + ambient + techno + garage + trip-hop + dub

= SOLARIS.

amazing.

p.s. DOWN WITH JUNGLE PURISM!