Progarchives, the progressive rock ultimate discography
Yes - Relayer CD (album) cover

RELAYER

Yes

 

Symphonic Prog

4.38 | 3474 ratings

From Progarchives.com, the ultimate progressive rock music website

jamesbaldwin
Prog Reviewer
5 stars Relayer, the album that follows the long-winded, threadbare "Tales", and which has the lesser-known Patrick Moraz in place of Rick Wakeman, returns to the "Close to the Edge" scheme: a suite on the first side and two mini-suites on the second.

"The Gates of the Deliverium" suite begins with two atmospheric but syncopated introductory minutes guided by Howe's guitar, then comes the singing of Jon Anderson, who proceeds for two verses and a bridge (not a real chorus) then an instrumental detachment then a another verse and another bridge, and again an instrumental part led by Howe with Squire's bass screaming ... then the volume goes down and follows a whispered verse, then another, we have now reached the part where Anderson asks to help the brothers in battle, but the pathos remains only superficial, then we leave this swamp with Howe's guitar which embroiders the usual guiding phrase, and finally the third bridge arrives followed by the long instrumental digression in which Howe and Moraz alternate run. White's effort is great, but he doesn't have Bruford's finesse. The musical theme is very rhythmic but not very melodic, this is the main difference with "Close to the Edge", where there was a suite that alternated melodic and catchy verses and refrains. Here the piece is much more rock, syncopated, sustained, even noisy, sometimes dissonant and there is practically no very melodic part. Yes seem almost to improvise, in fact the noises simulate those of the war and around 12'45 '' they reach a real cacophony, after insisting a lot on the same riff. Alan White with a very long, prolonged snare beat (which Bruford would never have done) marks the end of the moment of cacophony and the beginning of a Moraz solo, but what is striking is the sound of the whole, the ability to bring out all the instruments, and Squire impresses with its bass lines. Around 15 minutes the music stops, there is a carpet of keyboards that stretches a bit too long, then outlines a melody going up in intensity and begins the celestial piece "Soon" by Jon Anderson, the peace after the war. We do not reach the majestic climax of the Close to the Edge suite with Wakeman's organ, here we have a rarefied, pastoral music with acoustic guitars, then electric guitars intervene but the atmosphere remains of heavenly peace. Suite practically divided into only two parts, more aggressive than Close to the Edge, melodically inferior but more creative in terms of composition. Overall slightly lower but almost on the same level.

Rating 8,5.

B-side.

"Sound Chaser". First song with a great solo on the drums and bass, Anderson's singing and then a very aggressive phrase on the guitar (Howe is the leader in this album), an atmospheric piece, but always Howe's guitar in evidence (it seems a solo of the guitarist), then comes back the Anderson's celestial voice. Then another dissonant piece, Arrives the "Tcha Tcha Tcha, Tcha Tcha!" piece, then a Moraz's solo on the keyboards. This one is a masterpiece, thaks to Howe's ability on the guitar. This is hard rock played like free jazz. Masterpiece. Rating 9.

"To Be Over". Slow beginning with nice arpeggio to Howe's sitar (Howe always leader on this record), then comes the sung melody that is strangely not arranged well, there are holes, the sound is not full (the sound of White's drums is evident and bad): Yes lose the completeness of the sound, it seems like a demo!!! How is possible a similar error in the arrangement? The vocals are far, in the background, not in evidence... Then things come better when Howe's electric guitar returns to lead the dances. When comes the Anderson's vocals but this time in the foreground, the arrangement is complete (more keyboards, more electric guitar) and the song proceeds very well until the epic grand finale, It's a pity that initial fault on the arrangement, very strange for a band like Yes. This song is not at the same high of the rest of the Lp. Rating 7,5/8

Yes, after the classic "Close to the Edge", catchy prog form of pop songs, and after a double album consisting of 4 suites, monumental, excessive ("Tales"), with this album they let themselves go, led by Howe, and lose some of their brakes , control, and churn out a very rock and aggressive album, capable of going from hard rock and dissonant moments to slow celestial moments. The sound is not as balanced as in the past, and Bruford's absence is heard, but on the other hand we have never heard Yes so casual and able to find the cacophony, the dissonant sound. Then, unfortunately, they lose shots: they record a song, the last one (To Be Over), which in the first part is not entirely arranged, and this does not allow the album to be the true masterpiece that could have been, but this time they churn out a small masterpiece, imperfect but strangely bridle, almost resemble King Crimson and so this album hangs 9, small masterpiece. A little better than "Close to the Edge".

Five stars.

jamesbaldwin | 5/5 |

MEMBERS LOGIN ZONE

As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password

Share this YES review

Social review comments () BETA







Review related links

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives

Donate monthly and keep PA fast-loading and ad-free forever.