Music fans are a fickle bunch. Especially when it comes to a band like Yes. You’ve got the die-hards who think nothing good happened after 1977, and then you’ve got the newer listeners who just want to hear something that doesn’t sound like it was recorded in a tin can. Honestly, when Mirror to the Sky dropped in 2023, it felt like a weirdly pivotal moment for a band that has survived more lineup changes than most people have had jobs. It isn’t just another legacy act churning out "content." It’s a 23rd studio album that actually tries to say something about how we see ourselves.
The title itself, Mirror to the Sky, isn't just some hippie-dippie leftover from the 70s. It’s about reflection. Steve Howe, who basically runs the show now as both guitarist and producer, has been pretty vocal about the fact that this album was meant to be more than just a collection of songs. It’s a continuation of the vibe they started with The Quest in 2021, but with a bit more grit. Or at least, as much grit as a symphonic rock band can manage without losing their minds.
The Reality of Yes Mirror to the Sky and Why it Works
Most people expected this album to be a bit sleepy. Let’s be real. When Alan White passed away in 2022, there was a massive question mark hanging over the band’s future. Jay Schellen had been filling in for a while, but taking over the drum throne permanently is a heavy lift. Mirror to the Sky is the first album where Jay is the official guy. And you can hear it. There’s a different kind of energy in the percussion—it’s precise, maybe a bit more clinical than White’s swing, but it works for the modern era.
The title track is a beast. It’s fourteen minutes long. Fourteen! In an age of thirty-second TikTok clips, Yes is out here writing songs that take longer to finish than a grocery run. But it doesn't feel bloated. It starts with this soaring orchestral arrangement that feels very "classic Yes," then moves into these jagged, syncopated riffs that remind you Steve Howe still spends way too much time practicing his scales.
Geoff Downes is also doing some interesting things here. He’s not just layering synths; he’s creating textures that feel almost cinematic. It’s less "Keyboard Wizard" and more "Atmospheric Architect." If you listen closely to a track like "Luminosity," you can hear how he’s blending these vintage Moog sounds with digital pads that feel very 2020s. It’s a bridge between the analog past and the high-def present.
What critics got wrong about the "Old Man" energy
A lot of reviewers were quick to call this "grandpa rock." That’s such a lazy take. Honestly, if you actually sit down and analyze the chord progressions in a song like "Cut from the Stars," they’re incredibly complex. It’s not just G-C-D. It’s weird intervals, shifting time signatures, and Jon Davison hitting notes that shouldn't be possible for someone who’s been touring that hard.
Davison gets a lot of flak for not being Jon Anderson. Look, we get it. Anderson is a legend. But Davison has been in the band for over a decade now. At some point, we have to judge him on his own merits. On Mirror to the Sky, his lyrics feel a bit more grounded. Instead of talking about "mountains coming out of the sky and they stand there," he’s writing about the environment, connectivity, and the way humans are currently failing the planet. It’s prog rock with a conscience, which is a nice change of pace.
👉 See also: Waiting for Ruca Sublime: Why This Sublime Tribute Still Hits Different
Why the production on Mirror to the Sky actually matters
Steve Howe produced this himself. That’s a bold move. Usually, when a band member produces, the whole thing ends up sounding like a vanity project where their instrument is three times louder than everyone else’s. But Howe actually showed some restraint here. The mix is surprisingly balanced.
One thing that stands out is the orchestration. They worked with FAMES Studio Orchestra in North Macedonia. It gives the music this massive, breathing quality that you just can’t replicate with a VST plugin on a laptop. There’s a specific "air" around the notes.
- The Gear Factor: Howe used his signature Gibson ES-175, but you also hear a lot of steel guitar and even some Portuguese guitar.
- The Bass Lines: Billy Sherwood is basically the glue. He’s playing those Rickenbacker lines that Chris Squire made famous, but he’s adding his own "Sherwood-ism" to them—more aggressive, more driven.
- The Narrative: The album isn't a concept record in the traditional sense, but there is a recurring theme of looking upward to find answers.
I talked to a few engineers about the soundstage on this record. They noted that the high-end is very "crisp," which is a hallmark of modern digital recording. Some purists hate that. They want the warmth of 2-inch tape. But Mirror to the Sky wasn't made for 1972. It was made for people listening on high-end monitors or spatial audio setups. It’s wide. It’s deep. It’s what prog should sound like in the 21st century.
The "Bonus Disc" controversy
The album comes with a second disc containing three extra tracks. "Unknown Place," "One Second Is Enough," and "Magic Potion." Some people felt these should have been on the main record. Others think they’re just B-sides that should have stayed in the vault.
"Unknown Place" is actually one of the highlights of the whole session. It features this incredible pipe organ section that feels like you’ve been transported into a Gothic cathedral. Why it wasn't on the "main" album is a mystery. Maybe they wanted the main disc to have a specific flow? Regardless, skipping the bonus tracks is a mistake. They’re arguably more experimental than some of the stuff on the first disc.
The legacy of the Roger Dean artwork
You can’t talk about a Yes album without talking about the cover. Roger Dean is back, obviously. The man is 79 years old and still painting floating islands like he’s in his twenties. The cover for Mirror to the Sky is classic Dean—muted blues, strange rock formations, and that sense of infinite space.
But there’s a nuance here. The colors are a bit darker than Fragile or Close to the Edge. It feels a bit more melancholic. It reflects the fact that the band is in its twilight years. They aren't trying to pretend they’re twenty. They’re leaning into the majesty of being "the elders" of the genre.
Dean’s work has always been the visual language of Yes. When you see that logo—the classic bubble font—you know exactly what you’re getting into. It’s a seal of quality. Even if the music changes, the aesthetic remains a constant. It’s a "safe space" for fans who have been following them since the Nixon administration.
Practical ways to actually enjoy Yes Mirror to the Sky
If you’re going to listen to this, don't do it on your phone speakers. Seriously. You’ll miss 60% of what’s happening. This is "headphone music" through and through.
🔗 Read more: Why Dancing with the Stars Boston Still Packs the House
- Find a quiet hour. This isn't background music for doing dishes. It requires your brain to be engaged.
- Focus on the bass. Billy Sherwood’s work on "Mirror to the Sky" (the track) is a masterclass in melodic bass playing.
- Read the lyrics. They’re printed in the booklet for a reason. There’s a lot of wordplay that gets lost in the mix if you’re just skimming.
- Listen to it alongside The Quest. If you play them back-to-back, you can really hear the evolution of this specific lineup.
Basically, the band is in a "late-period" renaissance. They aren't trying to write a hit single like "Owner of a Lonely Heart." They’re trying to make art. Whether you think that art is pretentious or profound is up to you, but you can’t deny the craftsmanship.
Misconceptions about the current lineup
People love to say "It’s not Yes without [Insert Name Here]."
If we used that logic, Yes died in 1970 when Peter Banks left. Or in 1971 when Tony Kaye left. Or 1980 when Rick Wakeman left for the second time. The whole point of Yes is that it’s a collective. It’s a set of musical ideas—poly rhythms, vocal harmonies, and complex structures—that outlives any single member.
Steve Howe is the custodian of those ideas now. Is it different? Yeah. Is it still Yes? Absolutely. Mirror to the Sky proves that the DNA of the band is still intact, even if the faces on the back of the CD have changed.
✨ Don't miss: Fusion Steven Universe Off Color Gemsona: Why These Glitchy Designs Rule
Actionable Insights for the Modern Prog Fan
To get the most out of Mirror to the Sky and the current state of progressive rock, consider these steps:
- Audit your audio setup: To hear the intricate layering of the FAMES orchestra, ensure you are using lossless audio (FLAC or ALAC) rather than standard 128kbps MP3s.
- Explore the "New" Yes era: Don't just stick to the 70s. Compare the songwriting on Mirror to the Sky with 2014’s Heaven & Earth to see how the band has regained its confidence under Howe’s production.
- Support the tour: Progressive rock is a dying art form in the live circuit. Seeing these songs performed with the current light shows provides context that a studio recording simply can't capture.
- Follow the individual members: Steve Howe’s solo work and Billy Sherwood’s various projects (like The Prog Collective) often feature "leftover" ideas that give you a deeper understanding of the riffs on the main Yes albums.
The album isn't just a nostalgic trip. It's a statement that complexity still has a place in a world that is increasingly simplified. It’s a mirror, not just to the sky, but to a musical legacy that refuses to quit.