TORMATO

After so much evolution as a band, having constructed their own sound and produced masterwork after masterwork, it is a little strange to see the giant backward step Yes made with this disjointed album. Yes were almost back in the world of Time and a Word. Everything here lacks the majesty and substance of previous releases, and the production is muddy. Chris Squire's bass is swamped with effects and lacks the clear punch from prior recordings. The mixing sound more like what one would find on the bonus tracks on later releases of Yes classics. One highlight to this album is Rick Wakeman's synthesizer work, which rings out loud and clear. At best, it's decent rock music; at worst, it's comparable to the B-sides of a progressive rock band that's barely together.

"Future Times / Rejoice" Kicking off with a fairly exciting keyboard riff and some bass, Yes's ninth studio album shows promise. I've always enjoyed this song, and wouldn't mind seeing it performed live. It has an elevating vocal melody, and this is probably Anderson's best vocal performance on this album. I never cared for how "Future Times" goes right into "Rejoice." The two sections should have been separated, as they bear no relation to each other. The melody is awkward and the music jumbled together. After "Future Times," it's pretty safe to reach for the skip button.

"Don't Kill the Whale" This was a minor hit single, having a simple structure and an animal-friendly message. To me (and like many songs here), this one just doesn't sound like Yes, but it isn't a bad song.

"Madrigal" Wakeman's harpsichord meanders under Anderson's vocals. There isn't much to it, but it's brevity somewhat excuses that.

"Release, Release" This is one of the better tracks of the album, and has a similar feel as "Don't Kill the Whale," even if the composition is completely different. Alan White delivers a drum solo over the noise of a "screaming audience." I like that Squire gets some vocal time by himself on the bridge, and I enjoy the vocal melody quite a bit. In the end, the bass stands out (finally).

"Arriving UFO" This is the quirkiest on the album, but I don't really see the point in it. The vocal melody doesn't fit the music much at all. This music sounds like that of an amateur progressive rock band, and I could never get into it. The last part of it sounds like old video game music.

"Circus of Heaven" If the last song was the quirkiest, this is the second so. It's fun, but like most of the songs on the album, make it hard to take Yes seriously given their previous output. Guiltily, I'll admit to enjoying this song, even though it is far from a Yes classic. Anderson's son makes an appearance as the child speaker during the middle.

"Onward" This is a quiet song that has no variety whatsoever. It isn't bad by any means, but if one has heard what Yes is capable of on previous albums, the recording of this will remain a total mystery- Squire should have used it on a second solo album.

"On the Silent Wings of Freedom" Sadly, this is the closest to progressive rock Yes gets on this album. Squire finally steps into the spotlight as a bassist. This, however, is far from Anderson's best vocal performance, and Wakeman sounds a bit sloppy on his solos. This is some of the muddiest music Yes has ever done, and can be stressful to even listen to.