MIRROR TO THE SKY

Okay, just going to say up front, I am going to digress for a while before I say a word about this album. If it's not your thing, and you want to get straight to the review, then skip down a paragraph or eight. I don't tend to do too many reviews, but when I do it is for albums I like and think deserve to be heard. On the flip side, I don't tend to do negative reviews as there is simply enough negativity in the world already. That's not to say valid criticism doesn't have its place when it is constructive. However, for the most part, I like to look at reviews as an opportunity to tell my friends about something they might enjoy musically even if it isn't perfect.

As such, I am certainly remiss that I have not reviewed any YES albums before now. YES was my gateway introduction to progressive rock back in the early 70s. I have been a big fan ever since and a lot of my younger memories swirl around their music and concerts. I have considered reviewing for me what are watershed albums, namely Yesterdays which was a compilation of their first two albums, The YES Album, CTTE, GFTO, Relayer, TFTO, 90125, and Magnification, but whenever I set my mind to it, I end up pondering what can be said that has not already been said in the existing reviews, and have talked myself out of it. Probably the only thing that would be of interest, at least to me, would be not so much the music itself, which has been analyzed to death, but more my personal experiences associated with it. Reviews for a future time perhaps.

So, the last thoughts are a digression within a digression. Getting back to the thought in the first paragraph about constructive criticism, I must throw it out there that this band, in my humble opinion, gets by far the harshest criticism that any band on this site receives. I understand that YES in the late 60s and early 70s was one of the founding pillars of the progressive genre and set a very high standard, for others to follow, and for they themselves to continually try to surpass. But, let's get real folks, nobody can accomplish this. There was bound to be highs and lows, and certainly there have been both, one stinker that readily comes to mind was Open Your Eyes.

I suppose my biggest issue is that some of the harshest criticism seems to come from reviewers wanting to freeze the band in time. But realistically, this a band that has been around for over 50 years, has had a revolving door of members, each with their own musical styles and focus. Yes, without question, we all have our favorite lineups, but the real bottom line is that we should be grateful that the torch is still being carried after all this time, even if the evolution of the band isn't always what we personally want or expect.

In fact, it seems rather ridiculous that anyone would expect them to be the same band that they were in the beginning so far down the line. Can we really expect 60-70 years olds to be making the same type of music they made in their twenties? I can only hope not! And to be candid here, If they were still churning out basically what they did in the early days, they would certainly be chastised for that. It begs the question, can the masses ever be satisfied, especially critics? For sure I'm not the same person I was in my twenties. If I was, people would rightly have some serious concerns for me. Likewise, my musical tastes have evolved, mellowing out a bit. While I still love progressive music, it doesn't necessarily need to have the bombast that I preferred when I was younger. Thereby, Isn't it reasonable that these matured artists may be calming down in their musical style as well? If so, it's hardly unreasonable, is it? Dare anyone mercilessly criticize them for this?

In fact, if they didn't evolve with age, it would lend serious credence to a quote I remember from Grace Slick, a former member of another 'progressive' band in their own right, wherein she said, "All rock and rollers over the age of fifty look stupid and should retire. It's embarrassing". I can't say I agree with her entirely, but she makes a valid point. 60 and 70 year old rockers singing songs they wrote in their twenties about 17 year old girls just isn't a particularly good look. Fortunately, progressive rock for the most part has much more heady lyrics and themes, so that type of conundrum is not generally the issue.

Nonetheless, her point does drive home that expecting artists to do what they were doing 30 or 40 years ago is nonsensical, unfair, and likely even a bit inappropriate. That being said, I do not agree with Grace that artists, especially if they love what they are doing, should retire when they are fifty. I for one am very pleased that they continue to provide us with new music, and I am okay with them doing so with age-appropriate dignity. I have to wonder sometimes, if the harshest critics would say the same things that they write if they were talking to the artists face to face? I would hope not. Okay. Rant, tirade, soap box speech, and massive digression completed. I really needed to get that out of my system! I hope at least some out there can relate to these observations. If anyone out there wants to comment on this, please do. I would hate to think I'm all alone in the world?

So, enough of that. Let's get to the new album. As I said at the outset, I tend to review albums that I like and want to share, so that is obviously going to be the case this time too. I have listened to the album about ten times now, several times in the background while doing other work, but also several times fully engaged with headphones on. So, I have listened to it while in different head spaces and have given it a fair amount of thought. To be sure, I will be bringing the perspective of my digression along for the ride in my musings. So, let's get started.

First off, let's consider the album art. It's hard to imagine album covers for YES not done by Roger Dean, although there are obviously a few. With out a doubt, at this point, they have a symbiotic relationship which creates a certain atmosphere and anticipation for the music within, and the music in turn affects how we perceive the art. This one is indeed very nice and successful in that regard. The star filled sky along with futuristic landscape, and the human taking it all in (people seem to be quite rare in Dean's work!) ties in very nicely with the overarching musical theme, especially the title song. I would not go so far as to call this a concept album per se, but the material does seem to have loosely bound the idea of stars, space, and the heavens type of theme throughout much of the work as a whole. We are off to a great start here. Got to go with a 10/10 for the art.

Secondly, let's consider a couple things I don't generally isolate independently in my reviews, vocals and lyrics. I guess it is almost impossible to avoid the vocals discussion. Being up front here, I am a long time Jon Anderson fan as many are, but the reality is that he too, is a mere mortal, and far from perfect. While he influenced YES in irreplaceable ways, not everything he has ever touched has turned to gold. Case in point, much of his world music type solo work in particular doesn't do much for me. In addition, whether you like how he exited the band or not, he has not been with the band for some fifteen years now. He will probably at this point never return, although we have been fooled before in respect to this.

I venture to guess that many became fans of YES after his departure. As such, it seems even more so, reasonable that the vocalists need to be assessed for their own abilities, not in comparison with Jon Anderson. Why has that proved to be such a big problem? Not necessarily the singers themselves, but I believe it to be more of the band's corporate decision to align themselves with vocalists that tend to sound very much like Jon Anderson. YES, did have a specific sound vocally, a quite successful sound, for two or three decades, and it's understandable that they want to preserve that, if not exactly, at least in essence. To be honest it took me some time, but I have become okay with this, can accept it for what it is, avoid unnecessary and messy comparisons, and simply allow myself to enjoy the talent that has been brought on board. Let's call the vocals 8/10. May share some specific thoughts in the song reviews.

So next, the lyrics of the new album. It seems some of the current appraisals have been pretty unfavorable regarding the lyrical content. I just don't see it. There are some great lyrics here. For example, 'when I need some perspective, I find my place in the jewel collective', 'if ever there was a sun to dream upon we are as one', 'pause and reflect the cause and effect with mindful mind sail timeless time', 'I'm lost to your sight on a never ending flight only nearer to one more yesterday', and there are plenty more. Whimsical? Poetic? Semi nonsensical? Open to interpretation? For sure. This is the norm for YES, and to be expected and treasured.

Lest we forget, do we remember some of Jon Anderson's lines? Do shining purple wolf hounds, not surrounding yourself with yourself, mountains come out of the sky, rearrange your liver with the solid mental grace, hot color melting the anger to stone, here you stand no taller than the grass sees, ring any bells? Extracts from wonderful songs. I love them all. But you get the idea. Don't look for 'normal' lyrics in YES songs. The new lyrics may not be perfect, but rate at least 8/10.

And at last, some brief thoughts on the songs themselves:

Cut From the Stars: Nice bright opening track. Starts with violins, or synths perhaps, quickly ascends into an up tempo piece that is lyrically driven. Vocals are engaging. Nice guitar work, bass, drumming, and keys. All of the instruments are on point, crisp, and distinguishable. Very accessible yet has creative guitar work and changes in tempo that keeps it from being totally pop prog. This song displays both pop and prog sensibility, which begs the question which way is the album going to lean? (8/10)

All Connected: Given the first track, it was unclear what to expect next. Would it be more straight forward accessible short songs in the path of recent offerings? No! Starts off with a fairly slow almost western-like sound. Steve's slide guitar perhaps? Then drops off into more conventional prog fare gradually building up to a mid- tempo pace, again with nice guitar work. The song has a number of tempo changes but not huge ones, but effective enough. The hint of prog western reprises towards the end to bring it full circle. Again, strongly vocally driven, but with sufficient allowance for exercising some restrained instrumental prowess. While still pretty accessible, one of the better proggy pieces YES has provided of late. (8/10)

Luminosity: Another lengthy piece, similar in tempo to the previous track, but more complex in nature. Well structured, builds up slowly with instrumental section. Steve's guitar work starts coming to the front leading into a vocalization section of ah ah ahs, very reminiscent of classic YES. The following vocals also elicit a strong feeling of deja vu of their earlier works, very nice. While Steve's guitar work perhaps feels somewhat restrained, it is really well done and he extracts some nice emotion from his playing. The last few minutes feature a pleasant instrumental outro to the song that gradually builds up, but again remains controlled, with kind of a 'space' vibe, quite enjoyable, Another top notch proggy track that is hinting at a major positive change in focus for the band (9/10)

Living Out the Dream: And then comes this one. The song is not bad, it just doesn't belong here in this spot on the album. The fast direct punch of this breaks the mood that has just been carefully developed over the first three tracks. It is pleasant enough for what it is, a direct, readily accessible, only marginally prog, rock song. Only Steve's creative guitar work with descending chords saves this from being totally main stream. (6/10) Might rate it higher as a pure rock song, but we're talking prog here, yes?

Mirror to the Sky: And all is forgiven. This one is a monster, a beast, arguably the best track YES has laid down in many years. This is the type of song that made YES the masters of symphonic progressive rock. It is the crown jewel of the album, the one that makes for the price of admission, and clearly deserves to be the title track. Undoubtedly the band was proud of this one and rightly so. Yes, I love this track! From the first guitar notes to the big build up when the drums sign in, then the guitar work becomes powerful side by side with crunchy bass propelled by powerful drumming. Sublime start! The band is sounding youthful again! Drops off for vocals by several members of the group. Definitely has a machine messiah flavor. Steve hits some beautiful chords that are just sweet. Lead and backing vocals are very nice in this one. After the second vocal section, the mirror to the Sky section, which is simply delightful, an orchestral strings section that feels very locomotive like runs for a good while building in intensity while Steve plays over it. Mid tempo vocal section follows, again with the machine messiah feel, with more new creative guitar work, nice backing vocals. Finally dies down for a spacious more ambient section with synths. Geoff shines here creating a spacey carpet for light acoustic guitar work over the top. This plays out for a good while and then, shades of magnification, classical orchestration starts to weave into it. The locomotive strings reappear but in a more grand way with the orchestration slowly growing into a crescendo. And then Steve's guitar lead explodes out of it to finish it all off in style. Powerful finish! Probably just my imagination, but the very last orchestral notes seem to have a Star Wars vibe, which seems appropriate enough given the general stars and space theme of the song and the album. A convincing new epic that I can only imagine is going to be a concert standard for a long time to come! (11/10) Yes, I know the rating numbers don't work like that, but I get to make my own rules!

Circles of Time: As I have said many times in my reviews, I have a weakness for ballads, especially well-placed ones. And this one is very well placed following the power and complexity of the previous track. I openly admit it isn't exceedingly progressive in tempo and chords and such, but it certainly isn't out of the wheelhouse of classic Yes ballad styling. Think 'Onward' from Tormato or 'Soft as a Dove' from Magnification. While the lyrics are somewhat repetitive, I still like them. My only real critique of this track is that it would have benefited from a nice instrumental bridge development towards the end to create some tension in the song and elevate it by changing it up a bit. (7/10)

Unknown Place: Starts with acoustic guitar, some up front vocal chanting, and picks up from there. Nice guitar work with the synths being considerably more up front then on most of the tracks. The interplay between them persists throughout the track with moderate intensity, having a jazz prog feel at points. A little past the half way point there is a nice bass & drum interaction that also plays out well. There is great vocal interplay between Steve and Jon Davison throughout. Good energy, an original, fresh, lively and enjoyable track. It could have made a great album closer. (8/10)

One Second is Enough: Popish, barely progressive. Again, pleasant enough as a nice mainstream type song, but doesn't really fit the album mood or the progressive category so much. (6/10)

Magic Potion: Kind of an interesting song. The guitar work seems to hint at 1960's spy show music riffs. Sort of fun actually, but again, barely progressive. Steve's guitar keeps it just inside the boundary. (6/10)

Final thoughts. This is a very good album, certainly the best that the newer lineup has produced, a true return to form. Is it perfect, a masterpiece of progressive music? No, but it is heading in the right direction. While I appreciate the generosity of the artists, the abundance of material here actually proves to be a hindrance. This is a case of less being more. Had the album been held to about 50 minutes by deleting Living Out Their Dream, One Second is Enough, and Magic Potion, the album would have been much more consistent, much more progressive, and much closer to being a new classic YES release. That being said, I don't dislike those songs, they simply don't fit in well here. For sure, all in all, this album is an exciting leap forward and creates much anticipation of what the band may be able to accomplish if they keep building on this.

As an interesting footnote, the band's website says that the recordings for Mirror to the Sky were done at the same time as The Quest, essentially as an extension of the recording sessions for The Quest because they were on a bit of a roll creatively. It strikes me as curious that this is the case, as in my mind, they are two very different albums. For the most part I found The Quest, except for the first couple tracks, to be pretty mainstream and not particularly progressive oriented, as such something of a disappointment for my taste. However, Mirror to the Sky is totally different, hitting all the prog oriented buttons that we expect from YES. It's as if they finally had an epiphany as to what the fans, especially long time fans want to hear and made a concerted effort to make it happen. Even the three more mainstream songs on Mirror to the Sky are arguably a step up from those on the Quest. Perhaps, now that the group's lineup seems to be stabilizing, they are starting to really get in sync with each other and it feels like the whole is once again becoming better than its individual players. A very exciting prospect indeed!

As for my rating, my overall scoring came out (95/120) = (7.9/10) Definite 4 star territory. Had the album been shorter without those three songs the score would be (77/90) = (8.5/10) and would have been getting close to round it up masterpiece level, but that may be coming soon. Being as I must rate on what was released and not what could have been if it had been a bit shorter, I am still pleased to give it 4 very bright mirror finished shiny stars. Well worth adding to your YES catalog and prog collection!

For any who actually got through this clear to the end, I apologize for this turning into a review of epic proportions. Needless to say, I am passionate about this band in all its many manifestations, and now that I did decide to review them I got just a bit carried away.