I did vote a '10' for this release after hearing it, but it is a very reluctant '10'. Let me explain…
"Relayer" has NEVER been in my top 5 favorite Yes albums but it comes in close at #6, and a lot of that has to do with the emphasis on musicianship and arrangement at the expense of great songwriting ("Sound Chaser" in particular) combined with an overly harsh and yet very dead mix.
So once I heard that they were releasing a remixed version of "Relayer" following the releases of "Close to the Edge" and "The Yes Album" I was very hopeful that Steven Wilson would bring this album back to life in the same way that he did for "Aqualung" and "Lizard". I'm happy to say that at certain times, his remixes (stereo and surround) absolutely floor me, while at other times it falls short.
So let's start with the high point of these remixes and that's "The Gates of Delirium". Right from the opening chord, there is more clarity, depth, and space in this track than I have ever heard before. If anyone was expecting a carbon copy of the original stereo mix repurposed in surround, this is not for you. It IS a different mix, it is a different experience, but that's why it works so well. The drums have more energy and drive to them at times, and the harshness from the guitars and keyboards are largely gone. This is a track that is made for surround with a mixture of vocals, guitars, keyboards, and other effects spread out over the five channels. I also love how the drums and bass are largely anchored in the front channels as I always thought that certain surround remixes of Mr Wilson's ("Power & the Glory" and "Drums & Wires" in particular) suffered from an overabundance of drums in the surround channels. There's a certain part that sounds particularly good on this mix compared to the original and that's from around 7:00 in to 8:00 in when the battle scene begins.
This section is particularly effective in surround with Moraz's keyboards interplaying with Steve's guitars in the surrounds. I always loved these kinds of trade-offs in Yes music. Then around 10:30 when Chris Squire's riff comes in there is a degree of clarity that I have never heard before in this song, making that riff with the drums all the more powerful and driving, and especially at 11:30 when Steve joins in.
The sound effects in this section in the surrounds certainly make for a dizzying but enveloping experience.
Then after all the chaos comes peace. "SOON".
How gorgeous is this! Jon Anderson's voice on this song has never sounded more clear and present than it does emanating out of the center channel as the acoustic guitars and mellotrons gently float along in the surround channels. The last minute or so is particularly effective as the drums help the track to build until the final chord rings out.
SO, after all that, you might ask, "Well that sounds great! But does it get any better from there?" Unfortunately the answer is no. Just like "Close to the Edge", the opening track is the highlight of the surround experience.
So on to "Sound Chaser". I have never really been a fan of this track because I like have stated before, it suffers from too much of an overt display of musicianship at the expense of great songwriting. Overall it still doesn't sound that great however there are a few mix highlights. The toms in the opening minute of the track sound really full and present and spread out over the Quad channels. There are a few new details in the middle (slow) section that I am picking up on for the first time, and the cha-cha-chas at the end are quite fun. I really do believe that Steven did the best he could with this track, but you know what they say about polishing…
And finally "To Be Over". I firmly believe this is the best Yes song on both this album and "Tales from Topographic Oceans" combined, so did the surround mix live up to my expectations? Almost but not quite…Overall the surround mix serves the song. It's not going to be the bombastic experiences that "Gates" and "Sound Chaser" provide, but a more calming and soothing vibe is what's needed after all that. The cymbals swirl around you in the middle instrumental section as Howe glides along on the pedal steel guitar complemented by Moraz's keyboard tinkering. When the mellotrons enter, the excitement builds and you can just feel the goosebumps begin to appear, and then, there's a bit of a come-down…
The fact is on both the stereo and surround remixes of this track, Steven's mix of the vocals does not serve the song. They sound more separated and as a result some stick out in a not so pleasant way. Eddie Offord's original mix had a much better blend that sent shivers down my spine. This just leaves me wishing for the same experience.
Thankfully the last minute or so of this mix returns to being a positive experience as the counterpoint of the two melodic themes are now more clearly distinguishable showcasing a fine arrangement technique from Yes as it slowly fades back to silence yet again.
So, THAT is why I give this release a 'reluctant 10'. Obviously the sound quality is miles better than the original release, chocked full of extras, and "Gates" is easily one of the best surround mixes I have heard this year, but parts of "Sound Chaser" and "To Be Over" leave more to be desired, placing this one in last place among the Steven Wilson Yes remixes thus far.
I still encourage everyone though to check out this release as there is more to love than to hate, and now I'm just looking forward to the next Yes remix (hopefully in Spring 2015!)