Great detailed reviews above. I can’t add much, but I will say that for me the Atmos mix sounds fantastic and downmixes extremely well to my 7.1 system. I give it a 10.
Multis couldn't be found for GftO- that's why it wasn't done in 5.1 previously. I'd happily take any Yes album with this treatment- and while TfTO would be 2nd on my list, CttE would be my top wish. Though I think Relayer might have the most potential for an audacious Atmos mix.I thought Steve Wilson did a great job remixing Fragile to 5.1. I still think that! But if you follow listening to this 7.1.4 mix of TYA with that 5.1 of Fragile it really puts that Fragile mix to shame! Wasn't quite expecting that to be so blunt. It's more than anything to do with the additional channels too - although there's no denying the extended system. This is a really great mix!
Can we get Going For The One next? Then a 7.1.4 remix of Tales? I won't ask for any more after that! (I mean, not today anyway. Probably.)
I almost feel like I should ask forgiveness from those who voted here, but I'm rating this one an 8, breaking what appears to be a solid 10 voting streak for this release. I am a fan of the album and a huge fan of Steven Wilson's surround remixes in general (I have many now). However, the quote above from cornwall198 is one example of the creative choices that make this Atmos mix a bit odd for me. Some lead and backing vocals aren't prominent enough, and some instruments/solos seem to pop out too loud. Wilson's remixes often stay very faithful to the intent of the original stereo mixes, but in this case not as much. That's fine, but maybe I just feel this particular album works best as an integrated stereo mix. Also, I wasn't happy about having to pay such a high price for a collection of vinyl, 4 CDs and other filler that I didn't need - all for the sake of getting the Blu-Ray with Atmos. I'm happy for those of you that are digging this release. For me, Wilson's surround remixes of the later Yes albums seem to work better.feeling just a little underwhelmed with the presentation of the grouped voices in e.g. Disgrace and Perpetual Change (around the 'There you are' lyrics). Those 'choral' responses to Anderson's main bits sounded somehow a bit too recessed.