BREAKING NEWS: Frontiers Music Srl is excited to announce the signing of legendary rockers NAZARETH to the label for the release of a brand new studio album in 2018!
The current line-up of the band consists of Jimmy Murrison (longest serving guitarist in the band’s history), Lee Agnew (drummer since Darrel Sweet’s death in 1999), Pete Agnew (founding member, on bass) and new singer Carl Sentance (who joined the band in 2015 after Dan McCafferty had to retire due to illness).
Pete Agnew says, “[w]ith Carl as our brand new singer and Frontiers as our brand new record company, the buzz surrounding us right now is the same as it was when we went in to record our very first album. Can’t wait for the sparks to fly!“
Originally coming together as The Shadettes in 1968 in Dunfermline, Scotland, the entity known as Nazareth came together in spring 1970 and released their eponymous debut album in 1971. The band came to prominence after the release of the Roger Glover (Deep Purple, Rainbow) produced “Razamanaz” in 1973. Two more successful releases, “Loud ‘n’ Proud” and Rampant, followed before the release of “Hair of the Dog” in 1975, which was an unqualified success. The title track was a staple of ’70s rock radio and the ballad “Love Hurts” is a worldwide hit.
Nazareth mantained a solid sales history during the ’80s, particularly in Germany, where “Dream On” became a hit single. A tribute of note to the band came in 1993 when Guns N’ Roses covered “Hair of the Dog” on their “The Spaghetti Incident?” album.
To date, Nazareth has recorded 23 studio albums, earning them platinum, gold, and silver awards around the world. Their latest release, “Rock n’ Roll Telephone” was released in 2014 and generally hailed by music critics as another masterpiece in a long line of them from the band.
Frontiers is honored to be part of this legendary band’s rock ‘n roll legacy and looks forward to releasing another great slice of classic hard rock from Nazareth!
New York based prog band EDENSONG, recently called “a great example of contemporary Progressive Rock” by Jethro Tull’s Ian Anderson, is heading out on a North American tour next week with Detroit’s Imminent Sonic Destruction. This will be EDENSONG’s first tour in support of their newest album, the critically acclaimed Years in the Garden of Years(2016, Laser’s Edge).
Ian’s quote, which appears in the News Section of JethroTull.com, is “Edensong are a great example of the contemporary face of Progressive Rock. Detailed and energetic performances with heavy guitars, which give way to subtle blends of dynamic variation.”
Fresh off a successful appearance at ROSfest in Gettysburg, PA on May 7th, the band heads next to the Terra Incognita Festival in Quebec City, QC on May 20 before meeting up with ISD in Toronto on May 22 to kick off the official tour. The two bands join forces with a variety of popular, local support acts, including Half Past Four in Toronto, District 97 in Chicago, and Next to None in New York City.
“Each show is like its own miniature festival,” says guitarist/singer James Byron Schoen. “We’re teaming up with some of our favorite bands in each city we’re stopping. There’s gonna be a ton of variety at these shows so the nights should appeal to fans of progressive rock and metal alike.”
TRYO (Chile) is considered one of the most important and influential Chilean and Latin American Progressive bands in the last decades. They recently published their new acclaimed acoustic album “Ofrenda” and conceptual album “Órbitas”, and will soon celebrate 3 decades of extraordinary artistic career (1987 – 2017) with their upcoming 2017 Anthology album (with bonus material) and a “30th Anniversary World Tour”.
Their unique sound is the result of the creativity and virtuosity of the band´s multi-instrumentalists, with electric and acoustic compositions, and fusing Prog with other various musical genres (e.g., Metal, Rock, Jazz, Latin American folklore, World and Classical Music), providing great variety to their discography
Some of the TRYO´s career highlights are: a) Opening acts for amazing international artists, such as: “Yes”, “Adrian Belew”, “Kansas”, “Hermeto Pascoal”, “Flairck”, “Joe Satriani” (Satriani, Minnemann, Beller & Keneally) and “Marillion” (Marillion Weekend Chile, May 2017); b) That their musicians were invited to play with “Jimmy Page & Robert Plant” (Led Zeppelin), “Congreso”, “Los Jaivas”, “Focus” and “Luz de Riada” (Ramsés Luna); and c) Have composed the soundtrack of the successful application of the city – port of Valparaiso (Chile) as “World Heritage” at the United Nations Educational, Scientific and Cultural Organization (UNESCO).
During these three decades of music, “TRYO” (Chile) has received many awards and excellent specialized music press reviews in Chile and abroad. Last year was one of the best in the band´s trajectory: a) Recently named “Chilean Artist of the Year 2016” (by Rockaxis – Vanguardia); and b) Their “Órbitas” album was recognized as “Best Chilean Album of 2016” (by ChileanSkies), “Surprise Album of 2016” (by Rock at Night´s Progressive Rock Extravaganza U.S.A.), while the album´s songs were included in important prog compilations and radio programs worldwide (e.g., “Music for Relief” – There is Hope Records U.S.A.).
The band has maintained its original line up to these days, and is composed by the famous Chilean academics and musicians Ismael Cortez A. (electric & acoustic guitars, keyboards and lead vocals), Francisco Cortez A. (fretted & fretless electric bass guitar, bass pedals / station, cello and backing vocals) and Felix Carbone K. (drums and various acoustic- electric-hybrid percussion instruments, such as Mallet Kat, marimba, vibraphone, Handsonic, Wavedrum, Octapad, djembe, derbake, kultrun, udu, tabla, gong, quartz and tibetan bowls).
Argentinian Tango Prig Metal act Bandolirium, led by bandoneon player Amijai Shalev, are set to release their self-titled debut album this Friday, May 12.
Although there were tries in the past to blend Tango and Progressive Metal together, Bandolirium’s approach to this idea goes a few steps further by including a bandoneon—a type of square concertina popular in Argentina—in their music.
About the idea to create Prog Metal music with the inclusion of the instrument, Shalev commented: “I feel it’s a natural result of the music I listen to and my personal background. Great part of being a composer is finding the unique combination that we are and the way we see our environment. Living in Buenos Aires, this combination seems obvious to me, it hasn’t been done before just because people have a tendency to keep on doing the same stuff. In Prog Metal you hear very often rhythms and melodies from different cultures, so if we want to do Argentinian Prog Metal, Tango is a great inspiration, also using the bandoneon in metal parts is interesting because the sound is similar to keyboards but you can work the dynamics of an acoustic instrument, and of course for Tango audience the metal sound is something new.”
Progressive Metal and Tango have a lot in common, the intensity and drama especially, but even specific rhythms that are used in metal are found in tango.
Bandolirium has previously released a cover of Metallica’s classic “For Whom the Bell Tolls.” Shalev said: “I think that our version of ‘For whom the Bell’ tolls is an example how close tango and metal (in this case thrash) can get.”
About the creative process of the self-titled album, Amijai said: “I composed all the parts with scores at home, a very intimate process, for the drums I only wrote a reference and our drummer, Marcos Edwards, composed the real drums. While rehearsing we made the changes and corrections; there were many of them. It was a very interesting work, we learned a lot doing it.”
Bandolirium is out on May 12th.
Amijai Shalev – bandoneon
Marcos de Cristobal – guitars
Matias Brandauer – bass
Marcos Edwards – drums
Los Angeles based Rock Fusion trio, King Llama, is hitting some big stages this year with their album, RETURN TO OX. Happening right now is a South American tour. Look out as King Llama performs at a few notable festivals, including 2 days at Summer Camp Festival in Chillicothe IL this Memorial Day weekend, and Progtoberfest in Chicago on Saturday 10/21.
As the band is now touring in Argentina and Chile, they will also be recording a new live music video in the historical studio “Zanezi” in Mendoza. Look out for these releases this summer!
RETURN TO OX – recorded and produced with Dave Schiffman at East West Studios in Los Angeles – is available in all mediums including a double LP (vinyl), and can easily be found through the band’s website: www.kingllama.com
Canada’s profilprog.com says it best: “The album is a great success. Each title is deploying a multiplicity of environments covering a broad stylistic spectrum (from jazz to metal) and offers many variations of dynamic, alternating saturation and its clear epileptic breaks, harmonic progressions in black textures and air.“
Relix Magazine hits home with this: “King Llama draw from an impressive range of musical styles to forge their own brand of acid-jazz and prog-rock.”
King Llama has certainly forged their own style of fusion, and each show they perform more than demonstrates their ability to surprise the ear with fresh and clever approaches towards composition.
KING LLAMA on the Road:
May 4 Willys Bar, Chacras, Mendoza, Argentina
May 5 Al Toque, San Martin, Mendoza, Argentina
May 6 Sala Hugo del Carril, San Luis, Argentina
May 7 N8 Studio, Mendoza, Argentina
May 11 Maal Wines, Lujan de Cuyo, Mendoza, Argentina
May 12 Centro Cultural Rojas Magallanes, Santiago, Chile
May 13 Alfonsi, San Felipe, Chile
May 14 Bar 1, Santiago, Chile
May 18 Estudio Locatel, Zona Norte, Buenos Aires
May 19 Centro Cultural Leon Leon, Buenos Aires
May 20 Detroit, Morón, Buenos Aires
May 21 Quetzal, Buenos Aires, Argentina
May 25 Summer Camp Festival, Chillicothe, IL (Campfire Stage pre-party)
May 26 SummerCamp Festival, Chillicothe, IL
July 8 Casa, Costa Mesa, CA
September 16 Casa, Costa Mesa, CA
October 20 Sonic Voyage Fest, Wisconsin w/ Aisles, Joe Deninzon & Stratospheerius
October 21 ProgtoberFest, Chicago, IL
Yes | Close To The Edge | A 45th Anniversary Retrospective
This Retrospective Written With Love In Memory Of: Chris Squire – (March, 4, 1948 – June, 27 , 2015)
Label: Original Distribution/ Atlantic Records Release Year: 1972 Country: United Kingdom Genre: Progressive Rock
Band Members – Classic Yes ‘Close To The Edge’ Lineup
Jon Anderson – Lead Vocals Steve Howe – Guitar/Backing Vocals Chris Squire – Bass/Backing Vocals Rick Wakeman – Keyboards Bill Bruford – Drums/Percussion
Track List – Original Pressing 1972
1. Close to the Edge Lyrics – Jon Anderson/ Steve Howe Music – Jon Anderson/Steve Howe I. “The Solid Time of Change” II. “Total Mass Retain” III. “I Get Up, I Get Down” IV. “Seasons of Man”
2. And You and I Lyrics – Jon Anderson Music – Jon Anderson/Themes by Bill Bruford/Steve Howe – except “Eclipse”/Chris Squire I. “Cord of Life” II. “Eclipse” III. “The Preacher, the Teacher” IV. “The Apocalypse”
3. Siberian Khatru Lyrics – Jon Anderson Music – Jon Anderson/Steve Howe/Rick Wakeman
* Editorial Note * This retrospective is meant as a nostalgia piece and celebration of such a fine classic of progressive rock. Please note, Power of Prog or myself will not be forced into publicly taking sides as far as the fractured camps of Yes are concerned. We will not condemn nor condone any public behaviour displayed by the respective surviving members of Yes. This is why I have included various ‘Contact Links’ in my introduction. Furthermore this will be a very objective and unbiased article. Thank you for your understanding and cooperation in this matter.
-RUSH’s Geddy Lee to Rolling Stone Magazine- June, 6th, 2016 –
“To my mind, Yes may be the single most important of all the progressive rock bands,” said Rush’s Geddy Lee, who calls Close to the Edge “among my favorite rock albums of all time.”
Preface – Signs Of The Times
During the 1960’s in the United Kingdom there was much going on at that time. The United Kingdom were still rebuilding from World War 2. The United Kingdom were also as much a part of the Cold War with the Soviet Union as the United States of America was. Due to the rebuilding from World War 2 and the Cold War to follow things appeared to be very bleak and dark in the United Kingdom especially in England. Much like the USA, the United Kingdom also was experiencing its very own ‘Baby Boom’. It would be a set of ‘Baby Boomer’s’ such as these that would go on and make rock history.
In the USA the Civil Rights movement was well underway, Psychedelic Rock and ‘Flower Power’ was born in San Francisco, California. America had been totally wrapped up in the Vietnam War which resulted in protest marches across the country which sometimes ended in violence. One of the protests resulted in four people dead in Kent State University in Ohio. The United Kingdom was also a mirror reflection much like America however much much darker times.
Employment was at an all time low with the post war economic boom and it was important to the economic and cultural development with in English society. A better economy allowed for parents to the ‘Baby Boomer’ generation to send their children to institutions of higher learning and art schools. This was clearly apparent with the musical education of Rick Wakeman – Keyboards , who went to the Royal Conservatory, which was a absolute essential instrument in the creation and evolution of the new fledgling genre of progressive rock movement. Chris Squire – Bass , had some early formal musical training as a choirboy. That experience of vocal melody and harmony would become a fixture in his personal and professional life musically until his untimely passing in 2015.
For those too young to know or to some that need a reminder late 1940’s through early 1970’s in the United Kingdom was not really a beautiful place to live as it is in 2017. These ‘Baby Boomers’ in the UK had to pass by places everyday that were a vicious reminder of World War 2. Many of their parents solely went to work to just rebuild the United Kingdom.As they were coming of age like their American counterparts they too in the United Kingdom also took to the streets to protest nuclear weapons with the Aldermaston Marches. There were plenty of jobs and development but if you were a child like many of the progressive rock bands were during this time, all you knew was old bombed out areas under construction. They did not have the luxury that their counterparts in the USA or Canada that were being raised in what we call the suburbs and subdivisions.
Given all that mentioned above these ‘Baby Boomers’ or Fathers of Progressive Rockwere looking to create a world through music to perhaps escape from the post war madness. This is probably why they sat in studios or basements or even the sheds practicing and writing for hours on end. The long epic compositions of fantasy and otherworldly concepts was birthed out of both the pain of childhood and a coming of age attitude that also produced ‘Acid Rock’, ‘Heavy Metal’, ‘Psychedelic’ and ‘Folk’. Progressive Rock was another tentacle and extension of the ever growing counterculture on a global scale.
Yes’ Close To The Edge – Revisited
Close To The Edge is the fifth album in the Yes library. Yes had just wrapped up their tour in support of their previous album, 1971’s Fragile. They entered into Advision Studios to begin work on what would become Close To The Edge. This was also around the time that the band really started to stabilize as a collective union. After many laborious sessions in the studio Bill Bruford – Drums decided to leave Yes to join King Crimson after the tour and Alan White from the Plastic Ono Band. Now you had what would become the ‘Classic Yes Lineup’ of Jon Anderson – Lead Vocals , Steve Howe – Guitar/Backing Vocals, Chris Squire – Bass/Backing Vocals ,Rick Wakeman – Keyboards and Bill Bruford – Drums.
As far as song volume, Close To The Edge is one of the shorter albums in the Yes library. This is highly ironic due to the fact that the album opens up with the nearly 19 minute epic and self titled track Close To The Edge, which in those days on vinyl almost rode the fine line with the 22+ minute physical restriction that vinyl had. This left Side B that only housed And You And I & Siberian Khatru, which both averaged 10 minutes a track. The recording studio for the band to perform in, thoroughly enabled Bill Bruford’s drums to resonate with the wooden platform and making the group sound “more live”. The studio also housed a booth-like structure constructed of wooden boards which Steve Howe performed in to further enhance his sound. During the recording, the band decided to use a particular take for a track, but realised the studio’s cleaner had put the tape in the rubbish. A scramble in the bins outside the studio ensued, and the missing piece was found and inserted into the master.
During their month of recording, Melody Maker reporter and band biographer Chris Welch visited the studio to observe the recording progress. Welch described a stressful atmosphere, coupled with “outbursts of anarchy” from Bill Bruford, Steve Howe and Rick Wakeman and disagreement from each member after one mix of a song section was complete. Welch sensed the band were not a cohesive unit, with Anderson and Howe the only ones who knew what direction the album was to take, leaving the rest adding bits and pieces “to a vast jigsaw of sound”, to which Chris Squire and Offord were the two who helped put their idea into shape. Wakeman and Bruford, to Welch, remained “innocent bystanders” in the matter. In one instance, Welch arrived at the studio to hear a preview of a completed passage that took several days of round the clock work to produce. He heard a dull thud, to find Offord had fallen asleep on top of the mixing console from exhaustion, “leaving music from the spinning tape deck blaring at an intolerable level.”Bill Bruford found Close to the Edge particularly difficult to write and record with the rest of the band, calling the process torturous and like “climbing Mount Everest”. He became frustrated with the band’s happy, diatonic music and favoured more jazz-oriented and improvisational compositions. Bill Bruford was constantly encouraged by Jon Anderson to write, something he felt grateful for years later, but by the time recording was complete, he felt he had done his best on Close to the Edge and could not offer better arrangements.
Bill Bruford had this to say about that time recording the album before leaving the group.
“So then I knew I needed a breath of fresh air”.
Track By Track – A Look Into Yes’ Close To The Edge
Close To The Edge
This song would be written in four symphonic movements, each staying on point and coming to the intended message the band wanted to say and the tapestry they desired to paint. This was also the very first song where I heard every instrument in a well balanced harmony with one another. The first song I heard where not one instrument overwhelmingly drown out one another or the vocal narratives.
This song was written by Yes lead singer Jon Anderson and guitarist Steve Howe. Jon Anderson has said that many times the lyrics he writes reveal their meanings to him later. He told us that this song is one such example,
“The lyrics, ‘Season witch could call you from the depths of your disgrace,’ I realized what I was singing was all about the idea that your higher self will always save you if you keep your heart in the right place,” he said.
This song came about at a time when the members of Yes were concerned with how to follow up their successful Fragile album. Rick Wakeman had joined Jon Anderson, Steve Howe, Chris Squire, and Bill Bruford on that album. Yes had already amassed an impressive collection of epics that hovered around the ten-minute mark, exceeding what was perceived as the standard length in popular music. But song length itself wasn’t the point, the band wanted to take the time to say what they had to say.
It was during the recording of this album, and particularly this song that Bill Bruford decided to part with the band. He felt the group was going too far with the progressive music and he also felt he had nothing to contribute to the new direction Rick Wakeman would leave for similar reasons after the band’s next album, Tales From Topographic Oceans. He quit shortly after they finished the album, prompting Jon Anderson and Chris Squire to politely ask session drummer Alan White to join for the upcoming tour just days away, or be thrown out of the window of the room they were in. He agreed and has been with the band ever since.
This was one of the songs Yes recorded that couldn’t be recreated live without some outside help. They solved this problem by bringing their producer, Eddy Offord, on the road. He put various church organs, sound effects and vocal bits onto tape, and played them during performances at opportune times from a Revox tape machine. On this track, he was the live sound of the pipe organ and the waterfall.
During a radio show called Yes Music – An Evening With Jon Anderson, the singer explained,
“The end verse is a dream that I had a long time ago about passing on from this world to another world, yet feeling so fantastic about it that death never frightened me ever since. That’s what seemed to come out in this song, that it was a very pastoral kind of experience rather than a very frightening one.”
Jon Anderson is no fan of organized religion, and he takes some shots at the institution in this song, both in the lyrics “How many millions do we deceive each day?” and in the music , a church organ comes in, which is replaced by a Moog synthesizer. Here is what Jon Anderson went on the further say,
“This leads to another organ solo rejoicing in the fact that you can turn your back on churches and find it within yourself to be your own church,”
The chorus lyric “Close to the edge, down by a river” was inspired by Howe while he lived in Battersea by the River Thames. The music played during this section was originally a song of the same name that Howe put together several years before that was in part based on the longest day of the year. Anderson and Howe agreed this section fitted best with a Jon Anderson composition titled “Total Mass Retain”, thus joining the two ideas together.
And You And I
Written by band members Jon Anderson, Bill Bruford, Steve Howe and Chris Squire, this song runs 10:08 and is divided into four parts: I) Cord of Life II) Eclipse III) The Preacher the Teacher IV) Apocalypse
A 5:45 edit was released as a single and charted at #42 in the US.
So who is the “you” referred to in this song? In a interview with Jon Anderson, he answered,
“Probably God. Or it could be we collectively. The audience and I, collectively we look for reality of being a true understanding of the beauty of life. We reach over the rainbow for an understanding of things. You and I climb closer to the light.”
Few song titles start with the word “and”; a more logical title would be “You And I.”Jon Anderson said in a interview why the conjunction appears at the beginning:
“I sang it that way as I was writing it with Steve (Howe) and it just stuck: ‘And you and I climb over the sea to the valley.’ It’s all about the reasons that we have to call our connection with the Divine. So it was something that just rhythmically worked.”
Rick Wakeman, who played keyboards on this track, said,
“It has different movements which all go into each other. The object was having a piece of music that was everything that the Yes critics hated us for and the Yes fans loved us for, which was emotion.”
This was a highlight of the band’s live shows, and one of their favorites to play in concert. The Close To The Edge album was conceived with live performance in mind, which was prescient considering they were still performing it more than 40 years later. They played it start-to-finish along with The Yes Album and Going for the One on a tour that spanned March 2013 – June 2014. When the group resumed touring in July, they once again played the full album, this time along with Fragile.
In a 2014 interview with Chris Squire, he said,
“The audiences respond real well to hearing the music in that format. It reminds them of when they first heard probably what was a vinyl album.”
It originated as a more folk-oriented song that Jon Anderson developed with Howe. Its style and themes were worked on by Howe, Bruford, and Squire, the only track on the album that credits Bill Bruford and Chris Squire as writers.
The closing track on the Close To The Edge album, this song is about unity across cultures. Jon Anderson, who wrote the lyric, has given different accounts of what “Khatru” means. He has said that it means “winter,” and also that it translates to “as you wish” in Yemenite Hebrew.
The meaning of the song is more clear: Jon Anderson is expressing how Siberians go through the same emotions that he does. They’re people like us, just geographically distant. We may be from different places, but we’re all basically the same.
Jon Anderson is credited with writing the lyric to this song, with keyboard player Rick Wakeman, guitarist Steve Howe and Jon Anderson credited for composing the music. The songwriting credits on Yes songs can be deceptive, since the full band was usually involved in some aspect of working up the song.
Steve Howe said that this song was one of their more collaborative efforts.
“That song came together with the arranging skills of the band,” he told Guitar World. “Jon had the rough idea of the song, and Chris (Squire), Bill (Bruford), Rick and me would collaborate on getting the riffs together.”
It is the only track on the album that has Rick Wakeman credited as a writer. In terms of its lyrics. Eddy Offord, who produced the album, remembers using a primitive studio technique to get a swirling sound in the mix: he had an assistant attach a microphone to a cable and swing it around the room to get a Doppler effect.
Siberian Khatru – Through The Filter Of The Musician
“Siberian Khatru” is written in the key of G major and is typical of Yes’ music of this period, featuring abstruse lyrics, complex time signatures and poly-rhythms, and it is divided into multiple sections, with alternating vocal and instrumental passages. The album version begins with an introductory guitar riff, after which the main instrumental theme (played by the keyboards) is introduced. The structure of the main theme is a four-measure phrase consisting of three bars in common time (4/4) and the last bar in 3/4. This theme is repeated until the verse section begins. The lyrics start at about 1:05. The song progresses through various sections, featuring solos by Steve Howe and Rick Wakeman. There is a poly-metric section featuring the guitar, playing in a meter of 12, and bass and drums playing in a meter of 8. Jon Anderson begins singing seemingly random two-syllable words and phrases, which has since become a Yes tradition. The conclusion is similar to the introduction, returning to the main instrumental theme with a guitar solo on top of it, which fades out to the end of the track.
The Art Of Roger Dean – Sleeve Design
Close to the Edge was packaged with a gatefold sleeve designed and illustrated by Roger Dean, who had also designed the cover for Fragile 1971 . It marked the first appearance of the band’s iconic logotype, placed on top a simple front cover design of a linear colour gradient from black to green. Roger Dean’s logo has been described as a “calligraphed colophon”. In his original design, Dean wanted the album to resemble the quality of a gold embossed book. The sleeve includes pictures of the group and Offord that were photographed by Dean and Martyn Adelman, who had played with Chris Squire in the late 1960’s as a member of The Syn. Dean wrote the sleeve’s text and lyric sheet by hand. On reflection on the album’s design, Roger Dean said,
“There were a couple of ideas that merged there. It was of a waterfall constantly refreshing itself, pouring from all sides of the lake, but where was the water coming from? I was looking for an image to portray that”
Close to the Edge received favourable reviews among critics. New Musical Express printed a more mixed review from Ian MacDonald on 2 September 1972. He thought the group were “not just close to the edge, they’ve gone right over it”, though they “played their God-damned guts out” on the album which he called “an attempt to overwhelm us with which resulted in only unmemorable meaninglessness”. MacDonald concluded: “On every level but the ordinary aesthetic one, it’s one of the most remarkable records pop has yet produced”Henry Medoza opened his review for The San Bernardino Sun with: “Not since … Sgt. Peppers Lonely Hearts Club Band has there been one side on an album that expressed such a complete and exciting a musical thought as side one”, and thought it presented the group with a new level of sophistication. He praised the group’s vocal harmonies and Bill Bruford’s“deep irregular bass drum” on the opening of the title track, but picked its third section as the most interesting with the trading vocals Rick, Wakeman’s “dream-like” and “powerful” organ playing. Mendoza described side two as more “uninspiring” than the first, but praised the vocals and harmonies on both tracks, noting they sound like its own instrument on “Siberian Khatru”