----------------------------------------------------- DECEMBER 10, 2001 ----------------------------------------------------- Source: Progfreaks http://www.progfreaks.com/Reviews/Reviewed/Yes-Magnification.htm Yes - Magnification By Marcelo Silveyra One of the main reasons why Yes seemed to be stuck somewhat in limbo regarding the undivided attention of the progressive rock world was that many felt that the band was quite past its prime and had no chance of ever recording anything remotely as good as it had during its halcyon days. Add to that the fact that orchestras seem to enjoy desecrating progressive rock classics (Remember Us and Them: Symphonic Pink Floyd? First time I nearly got a heart attack.), and the release of Magnification didn't seem too auspicious for this legendary symphonic rock act. In fact, it looked as if a disaster waiting to happen was just on the verge of coming to realization, and I, being the usual idiot that I am, thought that I was going to dismiss the album on first listen. Big mistake. Magnification is the album that Yes fans have been waiting for years; a glorious recollection of every element that once made this band an absolute progressive rock monster, and a step up in the evolutionary ladder of ages, all at the same time and conveniently packaged in an hour of symphonic rock splendor. This is the kind of record that critics will quickly attack as being pretentious and contrived, while one smirks and plays it even louder so that they shut up. Alright, Jon Anderson's lyrics have never really been something to measure poets by, playing with a philharmonic orchestra is indeed a bit pretentious, and the band's focus is undeniably bombastic, but dammit! That's the way Yes is supposed to be! Yes indeed, be glad that these pioneers of progressive rock aren't curtsying to the processions of popular entertainment, because the world would be left without some of the most gorgeous and emotionally arranged music of the year (and, anyway, Anderson would sound quite funny singing in Limp Bizkit). As usual, Messieurs Howe, Squire, and White conjure a synergetic chemistry that conducts the band's music through various movements and moods while allowing for the tricky move of having every single instrument appear in the spotlight, but this time around, what we have instead of a keyboard maestro is an entire orchestra willing to interact with a rock four-piece. That's right, I-N-T-E-R-A-C-T. This is not a cheap attempt to swindle fans out of some more cash by placing a visually impressive and sonically inconspicuous orchestra somewhere on a record, or by allowing it to ridicule its own dramatic potential by playing kitschy versions of the band's classics. This is working together so that what the listener gets is the true beauty of meshing symphonic rock with a philharmonic orchestra; a stunning thing indeed. Sweeping string crescendos, subtle orchestral harmony, and precise philharmonic arrangements all appear at perfectly timed moments, while the band develops each passage with superb gusto and explores a rich plethora of contrasts. An often-recurring cause of orchestral misuse is the fact that rock bands, or philharmonic arrangers who work with them, often forget that the rich and numerous variety of chamber instruments is not designed to concentrate on reproducing what a limited number of rock instruments does. The mere idea of doing only that with the myriad possibilities that using an actual orchestra offers is actually disheartening, to say the least. But when a band uses an orchestra as an actual orchestra, instead of as an additional band member, the end result is better than anyone can expect, so that a mere listen to "Magnification" or "Spirit of Survival" demonstrates the heightened richness of contrasts and moods that can be brought to reality with the approach. Magnificent indeed. Close Window YesInThePress.com For site comments, problems, corrections, or additions, contact YesinthePress@aol.com