by Dean Wolfe, Prog Dog Media. Album released June 2026
Aurora is an album full of musical ideas. Yes is proving itself to be neither tired nor formulaic, and that’s credit where credit is due. So let’s cut to the chase: this album is pretty good.
That said, it does take a bit of patience. It’s definitely a grower, but my appreciation increased quickly with each listen. After about the third spin, I actually wanted to go back and hear it again—not just because I was reviewing it, but because I genuinely wanted to. There’s a freshness to this incarnation of Yes that keeps it engaging and rewarding over repeated listens.
One of the main limitations of the current Yes sound, for me, is the vocalist, Jon Davison. He doesn’t have the same raw rock intensity that defined many of the classic albums. That’s not a criticism of his talent. It’s just a different vocal character.
His voice is clean, almost choral at times. Very precise. Very controlled. But less of that raw edge I associate with older Yes. And I do miss that—but that’s just my perspective.
From the press material:
“As the music developed, it became clear that Yes were not attempting to recreate their past. Their legacy remained a guiding presence, but not a constraint…”
And that really sums it up.
This music should be judged on its own terms. As the work of the current lineup, collaborating and making the most of what each member brings.
Steve Howe, who also produced the album, seems very aware of the voice he’s working with. He shapes the arrangements around it. And a good example of that is the track Emotional Intelligence.
Howe is in excellent form throughout the album. I didn’t count, but there must be around 30+ different guitar tones—electric, acoustic, pedal steel, nylon-string, and his Portuguese guitar as well. You also get those classic ES-175 jazz tones, plus fuzzy leads and sharper, more aggressive moments.
My only real gripe is the occasional nylon-string tone that sounds like it’s plugged straight into the desk. It’s very dry, very airless. I’ve never really warmed to it, and it’s been around since Keys to Ascension.
The compositions here are impressive. Honestly, the idea of a cover band trying to play this material feels almost unrealistic. It’s dense, intricate, and constantly shifting. Even after a few listens, I still felt like I was cutting through a jungle with a machete. I imagine even Rick Beato would need time to sit with it.
If the first two singles didn’t grab you, this probably won’t change your mind. The overall sound is consistent throughout.
One surprise is hearing Steve Howe take lead vocals on part of a track. I actually liked that. His voice has a more masculine edge that contrasts with Davison’s more refined delivery.
There are also orchestral passages sprinkled throughout, which add extra weight. At times it even brings to mind Magnification.
The keyboard work is strong throughout. I really like the acoustic piano moments, and the synth choices sit well in the mix. Sometimes with Yes, and all bands, I question the patch choices—but here it all feels well judged.
The bass is solid, but mostly supportive. Not quite the forward, lead or melodic presence Chris Squire used to bring, but it fits this version of the band.
Aurora has a really catchy chorus, with some hazy, reflective textures running through it—hard to describe, but inspiring. Turnaround Situation is also very catchy. And there are some strong instrumental sections, especially in Countermovement, with Howe on his fuzzy high-sustain pedal steel.
I wrestled between 3½ and 4 out of 5 dog bones, but 4 wins out in the end, and very strongly so, because Yes is still the whole package—the whole deal. If you judge it on its own terms—not what the band used to be—but what it is now, it becomes a really interesting entry in the long evolution of progressive rock.
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