Two years after The Quest, Yes have released a new album. Fifty-five years after their birth, it certainly shows that the British band are still going strong – although none of the original members remain, the last of them, Chris Squire, having died of leukaemia in 2015. Carried by the voice of fifty-year-old Jon Davison, Mirror to the Sky ticks most of the boxes of this cult progressive rock band’s hallmark sound, starting with instrumental virtuosity. This is apparent in the All Connected track (and in particular during its long intro), in which veteran Steve Howe’s guitars seem to be rooted in time. In addition to the great progressive rock moments that make up this track and Mirror to the Sky, the album also features a few “wiser” passages, such as the ballad Circles of Time and the very classic rock song Living Out Their Dream. As for the lyrics, they remain faithful to the ecological concerns the group have maintained since their debut. Let's first quote the opening track, the very compelling Cut From The Stars. Its lyrics were inspired by Jon Davison's visit to the Dark Sky Park at the Joshua Tree National Park in California. This type of park aims to eradicate light pollution. Light is also one of the red threads of Luminosity, another new work by Yes. Finally, it is important to note that the album is dedicated to Alan White, the band's drummer from 1972, who sadly passed away in 2022. ©Nicolas Magenham/Qobuz

In 2013, in addition to his many recording and remixing projects, Steven Wilson remixed a sizable chunk of the Yes catalog. Interestingly, he didn't proceed chronologically, but by using an inner aesthetic that has become his trademark through previous projects with King Crimson and Jethro Tull. In 2013, he completed 1972's Close to the Edge; in 2014, he did a stellar job on 1974's Relayer (arguably never properly heard until this mix) and 1971's The Yes Album. The following year it was 1972's Fragile, and in 2016, 1973's double-length Tales from Topographic Oceans. These high-resolution remixes were previously available only on Blu-ray and DVD (while the conventional CDs contained 16/44.1 resolution mixes). In commemoration of Yes' 50th anniversary, Rhino has boxed and re-released all of these titles on vinyl. According to Wilson, they have used the 24/96 hi-res, DVD-A/Blu-ray mixes for each LP. The outer housing of the package features artwork created specifically for this set by original album artist Roger Dean -- whose work has been synonymous with the band's identity for more than 40 years. Additionally, two of these albums – Close to the Edge and Tales from Topographic Oceans -- feature brand-new cover art, while the remaining three covers were reworked by Dean.© Thom Jurek /TiVo

After a long break from making Tame Impala music, during which time Kevin Parker produced other people's albums and played in side projects, 2015's Currents shows that much has changed with the project. Like before, Parker recorded the album on his own, only this time without Dave Fridmann's guiding hand and by mostly forsaking electric guitars in favor of a wealth of synthesizers, and with a much more relaxed, intimate approach. In addition to the soft rock of the '70s feel that permeates the sound, Parker adds elements of R&B and hip-hop to the mix, gets lyrically introspective in spots, and generally sounds like he's either on the verge of a long nap or just waking up from one. These aren't bad things when done right, and Parker's prowess as a producer and musician makes most of Currents palatable, if not extremely exciting. However, by focusing on all these new elements, and by sleepwalking through at least half of the songs, this new way of doing things does a lot to frustrate the expectations of anyone looking to this album as another mind-blowing expression of guitar-heavy psych-pop. It's hard to deny artists the chance for change or growth, and Parker seems dedicated to both here. Where you can fault them is if they don't change or grow in an interesting or unique way. Great chunks of Currents sound like plenty of other bands and artists in 2015, especially since practically everyone with access to recording equipment did their own takes on midtempo, chilled-out R&B. Does Parker do it as well as others like Unknown Mortal Orchestra or Caribou? Sure, he does. Is it enough to make this album worth checking out? Yes, but it's not enough to make it an improvement over his previous work. At Tame Impala's best, they blend huge guitar sounds, melodic basslines, and vintage synths into sweeping psychedelic rock with energy and drive that feel hugely cinematic while still feeling real. There are only a couple times here when Parker comes close to that sweet spot. For example, the both "Let It Happen" and "Reality in Motion" have a good blend of guitars and synths and a sense of purpose that's often missing elsewhere. There are far more times where he strays too far from his strengths and gets bogged down in meandering, overly smoothed-out sounds and meandering songs that deliver no real payoff or sound half-baked at best, like the embarrassingly weak "Cause I'm a Man." It's too bad that Parker stashed his guitars away instead of keeping them around to add to the mix. It's definitely not a case of addition by subtraction; it's quite the opposite. While Currents would have made a decent Kevin Parker solo album, people coming to the album and expecting to hear the Tame Impala they are used to will most likely end up quite disappointed.© Tim Sendra /TiVo

The art rock legends' first album with Rick Wakeman, as well as their mainstream pop breakthrough.© TiVo

Four years after the release of her previous album -- an eternity in her discography -- Ariana Grande made a graceful return to the spotlight with her revealing seventh set, Eternal Sunshine. Mostly a response to the headline-grabbing details of her relationships, as usual, the conceptual journey takes listeners through the dissolution of one union (which ended in divorce) and the slow healing that was aided along by the sparks of another (which generated no small amount of controversy). The bulk of the lyrics are a direct reference to the drama, with Grande taking the high road with poise and class, while leaning into any negative perceptions with a wink and some sass. Those tabloid-fodder moments (like "The Boy Is Mine" and "True Story") add some fuel to the flames; however, Grande makes a concerted effort to maintain focus on personal growth through introspection on tracks like the reflective "I Wish I Hated You" and "Don't Wanna Break Up Again," which humanize her into an everywoman promoting healthy self-care tactics like self-soothing and therapy. For those who had been expecting a full-on, house-influenced raver, an album packed with "Yes, And?" style bops won't be found here. Instead, Grande strikes a balance between the warm, lush R&B tones of Positions and Thank U, Next with the lighter, feel-good fare found on Sweetener. "Yes, And?" is indeed the energetic centerpiece of this album, a blissful dose of dancefloor magic that follows the "Express Yourself"/"Born This Way" lineage of ballroom-inspired empowerment anthems. Though not as buoyant, the shimmering "We Can't Be Friends (Wait for Your Love)" is a Robyn-esque slice of neon synths, twinkling production, and throbbing groove, which boosts the bittersweet vulnerability of her lyrics, while the sparkling kiss-off "Bye" keeps the disco revival train chugging along as Grande dances her woes away. Beyond that, Eternal Sunshine sticks close to impeccably produced midtempo songs that highlight her vocal range and the mountain of thoughts she has to get off her chest at such a pivotal stage in her life. It's anything but boring; rather, these tracks hypnotize (the reawakening of "Supernatural"), comfort ("Eternal Sunshine"), and nourish the soul like the titular rays of light ("Imperfect for You"). Closing with the horn-swelled "Ordinary Things," Grande calls on her grandmother Marjorie for some sweet, sage advice about making a relationship last, a touching bit of wisdom to frame the young artist's very adult breakup and the healing, however messy, that followed. After the late-2010s blitz that saw her conquering the charts on an annual basis with output of steadily decreasing quality, the years spent re-centering and growing up were clearly fruitful, resulting in one of her strongest, most cohesive efforts to date. Eternal Sunshine is Grande in peak form, a magical maturation that is elevated, resilient, and confidently restrained.© Neil Z. Yeung /TiVo

The circumstances surrounding the creation of The Yes Album were far from auspicious. Original Yes member Peter Banks had left, the group's manager quit (and took a substantial chunk of their money with him), and, the day before the scheduled photo shoot for the album cover, the entire band was in a head-on car crash while returning from a concert. On top of all of that, the sessions were colored by the omnipresent pressure of their record company, which had made it clear that, after the dismal sales of their first two albums, Yes's third release needed to make a substantial commercial impact or the band would likely be released from their contract. Incredibly, all of these factors wound up making a positive impact on The Yes Album, which not only broke big enough to save their bacon with their label, but also set them up for a one-two punch with the quick follow-up of Fragile. The addition of guitarist Steve Howe as Banks' replacement vastly expanded the range of textural and compositional possibilities for the group, and the undeniable esprit de corps in the band's approach to the material was undoubtedly heightened by their collective bitterness against their former manager; even the cover art got an unplanned extra bit of weirdness, thanks to keyboardist Tony Kaye's leg being in a cast due to the auto accident. (Ironically, this was Kaye's last album for Yes; he would be replaced by Rick Wakeman later in 1971 for the making of Fragile.) The music of The Yes Album is unique in the band's catalog, as it sits precisely at a fulcrum between the arty pop/rock of their first two albums and the denser fantasias of their post-Fragile output. While Fragile was a much bigger hit (thanks to "Long Distance Runaround" and "Roundabout"), The Yes Album was still a substantial breakthrough, and is more daringly structured, balancing more complex numbers like "Perpetual Change" and "Starship Trooper" with direct, melody-driven tunes like "I've Seen All Good People" and the jazzy "A Venture." And then, there's "Yours Is No Disgrace," a 10-minute album opener that somehow manages to be both a devastatingly catchy earworm and an ostentatious, multi-part suite, which makes it a perfect introduction to an album which is also exactly those two things. This excellent expanded edition includes a raft of incredible bonus material, including the de rigueur Steven Wilson remixes of some album tracks, but also instrumental versions as well. Mono mixes, alternate takes, and a handful of bonkers live cuts round out the set. © Jason Ferguson/Qobuz

More than any of his BTS bandmates, Jung Kook has been primed for the greatest crossover potential with his debut solo album, Golden. Unlike the rap showcases of RM, Suga, and J-Hope or the focused genre forays from V, Jin, and Jimin, Golden takes aim at the mainstream sweet spot that swirls together funky beats, catchy melodies, and irresistible choruses. It doesn't hurt his prospects that everything is in English, either. Backed by producers such as BloodPop, Diplo, Andrew Watt, and Cirkut and songwriters like Shawn Mendes and Ed Sheeran, the LP also features rapper Jack Harlow on the bouncy, fun-loving "3D"; Major Lazer on the sensual, throbbing "Closer to You"; DJ Snake on the shimmering electronic dance anthem "Please Don't Change"; and Latto on the chart-conquering, record-breaking sex romp "Seven" (the edited version is also included). While the laundry list of A-list names attached to the project leaves little doubt that this has been custom-designed to make him an even bigger star, everything works so well because of Jung Kook's seasoned vocals and natural allure. Like Justin Timberlake and Harry Styles before him, it's quite clear that Jung Kook has been christened as his boy band's main breakout, and Golden makes a great case for that push.© Neil Z. Yeung /TiVo

A stunning self-reinvention by a band that many had given up for dead, 90125 is the album that introduced a whole new generation of listeners to Yes. Begun as Cinema, a new band by Chris Squire and Alan White, the project grew to include the slick production of Trevor Horn, the new blood (and distinctly '80s guitar sound) of Trevor Rabin, and eventually the trademark vocals of returning founder Jon Anderson. His late entry insured that Rabin and Horn had a heavy influence on the sound. The album also marked the return of prodigal keyboardist Tony Kaye, whose crisp synth work on "Changes" marked the band's definitive break with its art rock roots. "Owner of a Lonely Heart" was a huge crossover hit, and its orchestral break has been relentlessly sampled by rappers ever since. The vocal harmonies of "Leave It" and the beautifully sprawling "Hearts" are additional high points, but there's nary a duff track on the album.© Paul Collins /TiVo

The legendary prog band's greatest artistic achievement, as well as one of their biggest commercial successes.© TiVo

The New York sibling trio AJR balance bittersweet and uplifting emotions on their fifth album, 2023's The Maybe Man. Once again featuring the talents of the Met brothers -- Adam (vocals/bass), Jack (vocals/guitar), and Ryan (guitar/piano/vocals) -- the set was recorded while their father was battling cancer, which he would ultimately die from. It's an emotional experience that underscores the album, and one they explicitly address on "God Is Really Real." While that song is necessarily sad, the record is overall an uplifting one, full of the group's pop hooks, trademark candor, and self-effacing humor. On "Touchy Feely Fool" they tackle the idea of not being able to end a toxic relationship with the wry line "I'm screwed/But, hey, what can you do?/I'm a touchy-feely fool/I would give anything to not give a sh*t about you." The album is also as stylistically varied as their past work, moving from the sparkling, Squeeze-esque '80s pop of "The Dumb Song" to the '90s R&B grooves of "Intertia" and the club-ready, hip-hop-inspired revelry of "I Won't." With The Maybe Man, AJR continue to turn their personal pain and anxieties into universally relatable pop anthems.© Matt Collar /TiVo

The circumstances surrounding the creation of The Yes Album were far from auspicious. Original Yes member Peter Banks had left, the group's manager quit (and took a substantial chunk of their money with him), and, the day before the scheduled photo shoot for the album cover, the entire band was in a head-on car crash while returning from a concert. On top of all of that, the sessions were colored by the omnipresent pressure of their record company, which had made it clear that, after the dismal sales of their first two albums, Yes's third release needed to make a substantial commercial impact or the band would likely be released from their contract. Incredibly, all of these factors wound up making a positive impact on The Yes Album, which not only broke big enough to save their bacon with their label, but also set them up for a one-two punch with the quick follow-up of Fragile. The addition of guitarist Steve Howe as Banks' replacement vastly expanded the range of textural and compositional possibilities for the group, and the undeniable esprit de corps in the band's approach to the material was undoubtedly heightened by their collective bitterness against their former manager; even the cover art got an unplanned extra bit of weirdness, thanks to keyboardist Tony Kaye's leg being in a cast due to the auto accident. (Ironically, this was Kaye's last album for Yes; he would be replaced by Rick Wakeman later in 1971 for the making of Fragile.) The music of The Yes Album is unique in the band's catalog, as it sits precisely at a fulcrum between the arty pop/rock of their first two albums and the denser fantasias of their post-Fragile output. While Fragile was a much bigger hit (thanks to "Long Distance Runaround" and "Roundabout"), The Yes Album was still a substantial breakthrough, and is more daringly structured, balancing more complex numbers like "Perpetual Change" and "Starship Trooper" with direct, melody-driven tunes like "I've Seen All Good People" and the jazzy "A Venture." And then, there's "Yours Is No Disgrace," a 10-minute album opener that somehow manages to be both a devastatingly catchy earworm and an ostentatious, multi-part suite, which makes it a perfect introduction to an album which is also exactly those two things. © Jason Ferguson/Qobuz

Fusion, transcendence: it's what he's always done. At 74, Carlos Santana is still as curious as ever, and his 26th studio album brings together all his current interests, with an unabashedly popularising aim. With this record, the Mexican-born guitarist wanted to "return to radio". And this album has all the ingredients to make its mark on the airwaves in the coming months. First of all, he relaunched his duet with Rob Thomas, which had won a Grammy for Smooth at the time of Supernatural, Santana's 1999 comeback album. And the very groovy track Move looks set to do it again. The cover of Manu Dibango's Soul Fiesta (taken from 1972’s Africadelic), here becomes Santana Celebration, an intro in the form of a percussion and wah-wah jam, is also a noteworthy track.Santana then wanders between Latin music (Rumbalero with Asdru Sierra from the Californian band Ozomatli), pop passages (Break, Breathing Underwater, She's Fire) and high-quality guest appearances, starting with Joy, with country singer Chris Stapleton coming in for a well-oiled reggae/blues double-act, and a cover of Procol Harum's Whiter Shade of Pale featuring Steve Winwood. But the highlight of the album is the encounter with Kirk Hammett, the guitarist of Metallica (+ Mark Osegueda, the singer in Death Angels) on America for Sale, six minutes of rage with a totally unbridled finale featuring these two guitar heroes. Note also that Blessings & Miracles contains Chick Corea's very final recording, on Angel Choir / All Together. The legendary American pianist, who died in February 2021, had sent over a keyboard part, which Santana embellished with his guitar, creating an excellent jazz-rock track, rounded out by the musician’s widow, Gayle Moran Corea, who provided the opening chorus. © Smaël Bouaici/Qobuz