It would be easy to dismiss the new Yes album, Aurora, out of hand: it’s not Yes without Jon Anderson, it’s little more than a cover band, their time has come and gone. You could dismiss it, but that would be a mistake. The Davison era has had some interesting moments, but nothing sustainable for an entire album. Till now, that is. Aurora finds the latest iteration of this most estimable of bands gelling in a way it never has before. Gone are the thrills generated by otherworldly musicianship, the impossible time signatures, the sense that no one has ever ventured THERE before. In its place is a band of five talented musicians with nothing left to prove. They’ve been there, done that. Now it’s time to make music that will satisfy themselves and the lucky few who take the time to go along for the ride.
When I first listened to the new album, I was not exactly let down, just not “wowed”. With each listen, the magic became clearer. The goal is no longer to amaze, at least not with feats of technical derring-do. It really comes down to the songs. How they are sung and arranged. How they make room for new sounds and tones. How to tell a story in a way that makes sense to the band, now. On all these counts, Aurora succeeds.
Beginning with the title track, the band again incorporates a live orchestra. The piano and strings introduction is grand and majestic. The musicianship from the band is nothing flashy, but everyone is at the top of their game. Billy Sherwood’s bass is powerful and melodic, Howe’s guitar solid yet understated. Geoff Downes’ keys are effective and support the structure of the tune, alternately rocking and symphonic. Even Jon Davison’s voice feels comfortable in a way it hasn’t before. It already feels like something special is happening. Downes flexes his muscles on Turnaround Situation, trading the spotlight with Howe, who seems to make full use of his guitar arsenal, creating layers of diverse textures and tone throughout. Jay Schellen is not a flamboyant drummer, but he gives the song what it needs, very much in the vein of Alan White. Even the harmony vocals are worthy of vintage Yes without imitating those bygone days.
Howe’s always reliable acoustic guitar introduces Love Lies Dreaming, which features one of the album’s better arrangements. More than any other, the ghost of Chris Squire haunts this song; you can almost imagine him smiling down in satisfaction at the proceedings. The song remains resolutely mellow, but the changes in tone, timbre and approach are a constant reminder that this is still Yes, and there is still some magic left for them to pull out of the old top hat.
The song that will most intrigue longtime fans is the mini-epic, Countermovement. Only this iteration of the band could have put this one together, and I mean that as a compliment. Howe’s slide commands the opening minutes before yielding to Sherwood’s lead vocal (supported by Davison) which gives the song a very unique feel. Howe’s guitars and sitars fill in the spaces, but his acoustic break nearly five minutes in is too comfortably close to I’ve Seen All Good People; it’s the band’s harmonies that rescue this section from parody. The lead vocal roles switch back and forth between Davison and Sherwood, and the feel of the music shifts accordingly. Howe’s guitar work can be perceived as restrained, but that is not a bad thing; the listener can concentrate on the notes being played, rather than the amount of them. Countermovement is beautiful one minute, haunting the next, always unafraid to expose its strength without wallowing in self-satisfaction. The song’s a cappella coda comes out of nowhere, leaving the listener wanting more – a good trait for an epic.
Ariadne, based on the mythical Cretan princess, is of a piece with Aurora, introduced by a grandly symphonic arrangement and showcasing one of Davison’s finest vocal performances. The strings have the sense of being fully integrated, heightening the song’s allure. Howe continues to surprise; on this album, it’s all about exploring ways to express himself through new sounds. Another perfect example of that is the hard rocking All Hands On Deck. Davison handles lead vocal duties (in a lower than usual register) with Howe contributing the chorus. Downes gives a stellar performance, and the three minutes the song occupies are over in a flash. Continuing to push the envelope, Outside The Box features a wordless vocal that highlights some of the Davison era’s best work. Juxtaposed against acoustic guitar, the combination is indeed a new approach for the band. The rhythm section shines brightly and the band exudes a palpable sense of joy. Capping off the album proper is Emotional Intelligence, another gentle ballad featuring piano and strummed acoustic guitar. When the full band takes over the song the tempo picks up, but the song retains its strong emotional beauty.
In what is becoming a habit for the band, there are bonus tracks which do not fit the spirit of the rest of the record. These have not always worked, and at first blush Jambustin’ appears to be another swing and a miss. After repeated listens, however, you realize just how well Howe and Downes have coalesced and how they provide a foil for one another. There are hints of the Tormato period band in the arrangement, lending the song an air of fun. Watching The River Roll is Howe’s centrepiece musically, but Sherwood’s and Davison’s vocally. The song has a lazy, sunny day aura which seems to encapsulate the band’s new attitude – we’re here to make good music, not just to impress. By staying true to the former, they engender the latter.
Aurora is not a masterpiece in the mode of Close To The Edge or even 90125. What it is is a band content with who they are and where they are. As a result, they’ve produced their finest album in the last decade. One might be reflexively conditioned to dislike it, but give it time and a serious few listens. There are many pleasures to be had with Aurora; don’t allow a prejudice to rob you of them.
TRACK LISTING
01. Aurora (7:27)
02. Turnaround Situation (5:50)
03. Love Lies Dreaming (6:24)
04. Countermovement (13:48)
05. Ariadne (6:18)
06. All Hands On Deck (3:04)
07. Outside The Box (4:20)
08. Emotional Intelligence (3:30)
~ Bonus tracks:
09. Jambustin’ (4:24)
10. Watching The River Roll (4:42)
Total Time – 59:47
MUSICIANS
Steve Howe –Guitar, Vocals
Geoff Downes – Keyboards, Vocals
Jon Davison – Vocals, Guitar, Keyboards, Percussion
Billy Sherwood – Bass, Vocals
Jay Schellen – Drums
~ with:
Czech National Symphony Orchestra
ADDITIONAL INFO
Record Label: Inside Out Music
Country of Origin: UK
Date of Release: 12th June 2026
LINKS
Yes – Website | Facebook | Bandcamp (Inside Out Music) | YouTube | X | Instagram
