Album review: Survive “Immortal Warriors”

By Stefan Nilsson, Roppongi Rocks

Japanese metal band Survive celebrates two decades of musical brutality with a smashing new album.

There is currently a wave of great Japanese metal bands who start to make names for themselves internationally. One of the bands is Survive. They have toured internationally quite a few times over the years. Earlier this year they did a European tour together with Venom Inc. and here in Japan, they have this year opened for the likes of At The Gates, Municipal Waste and Venom Inc. Formed in 1998, this is the band’s tenth studio album. Survive currently consists of the core trio of Nemo (vocals and guitar), Sinjlow (bass) and Gaku (guitar). The album has been recorded with session drummers and on some of the recent live shows, United drummer Akira Tominaga has filled in behind the drum kit.

Survive is frequently called a thrash metal band. While that is part of the story, this band is so much more than just conventional thrash metal. Survive plays terrific modern thrashy and dark metal. It’s a great blend of brutal and melodic metal – with dashes of thrash, speed, death and black metal in the mix. There is a crushing brutality to many of the songs and also quite a few atmospheric parts on many of the songs. We also get a few contemporary sounding parts, some of them reminding me a bit of Trivium’s sound. But for the most part, the music on this album is more on the brutal side. Survive also has great melodies and a bag full of splendid guitar solos. But the thrash metal foundation is of course there. The guitars on “Wrath” are insane! The same goes for the title track, “Immortal Warriors” and several of the other tracks on this solid album. My favourite tracks on the album include “Control the Darkness” (which opens with a terrific atmospheric soundscape built on haunted guitars) and the angry and hard-hitting “Blood and Sacrifice”. This is a terrific album by a great Japanese metal band.

Survive’s “Immortal Warriors” will be released on 12th September via Rebel Recordings. You can catch them live at Club Asia in Shibuya, Tokyo on 17th September.

Album review: Angeline “Shadowlands”

By Stefan Nilsson, Roppongi Rocks

Swedish melodic rockers Angeline are back with a fab new AOR album with some twists.

I have followed Swedish melodic rockers Angeline for more than three decades now. I saw many of the band’s first gigs in 1987-88 and the following years. I immediately liked them. Ever since their first demo cassette, “The Legend” in 1988, they have lived in the melodic rock world. Sometimes they are very much AOR, sometimes a bit heavier, but always melodic. Angeline’s current line-up consists of Jocke Nilsson (vocals, guitar), Janne Arkegren (guitar), Uffe Nilsson (bass) and Tobbe Jonsson (drums). They are all founding members of the band which was formed in 1987. The band released its debut album “Don’t Settle For Second Best” in 1990. In 1995, Angeline’s original vocalist Sigge Sigvardsson passed away at age 29. The band soldiered on but split up in 2001. In 2007, the remaining original members reunited and in 2010 they released the comeback album “Confessions”. They have been active since then with some studio releases and gigs. Now they have a new 11-track studio album out and in 2018, Angeline’s music is, unsurprisingly, melodic rock for grown-ups. The album opens strongly with the rather catchy rocker “I Wanna Know” which is followed by another strong track with some fine guitar work, “Slow Down”. “Nobody’s Perfect” is one of my favourite tracks on the album. It somehow manages to combine melodic rock with parts that almost sound like Red Hot Chili Peppers. In “The Devil You Know” we get a bit of blues-tinged hard rock as if Angeline were a rock band from Nashville and not Ljusdal in the deep forests of Sweden. In “Enemy Within” we get a more modern rock, not too far from the sound of Alter Bridge. In “Believe” and “I’m Here For You” we get the obligatory ballad-type songs that we expect on an AOR album. But most of this album is well-crafted middle-of-the-road AOR music as can be heard on songs like “Live Life Like You Mean It”, “Higher Than Love” and “Better Than The Real Thing”. I might have called it radio-friendly rock if anyone still listened to the radio.

Angeline’s album “Shadowlands” is out now via Blow Your Fez Off Music.

Gig review: Resurrected Michael Schenker attacks Tokyo in style

Michael Schenker on stage at Toyosu Pit in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

Michael Schenker returns to Japan for another triumphant Michael Schenker Fest tour. This time with a fabulous mix of old classics and new songs.

Michael Schenker Fest at Toyosu Pit, Tokyo, 31st August 2018

Michael Schenker on stage at Toyosu Pit in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Michael Schenker comes on tour to Japan very often. Earlier with MSG, then with Michael Schenker’s Temple of Rock and in more recent years with Michael Schenker Fest, a band consisting of reunited MSG members. Having seen Michael Schenker Fest’s previous tours of Japan (which have all been great), I wondered what they could do to make it different on this occasion. This time, in addition to the old MSG veterans – vocalists Graham Bonnet, Gary Barden and Robin McAuley as well as Steve Mann (keyboards and guitar), Chris Glen (bass) and Ted McKenna (drums) – Schenker brought along the former Temple of Rock vocalist Doogie White and put on a splendid show.

Doogie White on stage with Michael Schenker Fest at Toyosu Pit in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

As we did on the last couple of Japan tours, we get the MSG classics from the 1980s and they are as good as ever. But this time we also get some songs from the Michael Schenker Fest album “Resurrection” which was released earlier this year. Mixing the old classics with the new songs gives us a massive show that clocks in at two hours and forty minutes. It’s rock solid throughout. We also get some reminders of Schenker’s past with Scorpions (“Holiday”, “Coast to Coast”) and UFO (“Doctor, Doctor”, “Rock Bottom”, “Shoot Shoot”, “Natural Thing”, “Lights Out”).

Michael Schenker on stage at Toyosu Pit in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

The show opens with a partial performance of “Holiday” with Michael himself on vocals and continues with “Doctor, Doctor” which introduces vocalists Graham Bonnet, Gary Barden and Robin McAuley to the audience. Then we get a Temple of Rock block of songs with Doogie behind the microphone. Doogie also performs the new track “Take Me to the Church”, from the “Resurrection” album, and it is one of the highlights of the evening for me. This evening we thankfully get no fewer than five songs from the new album. As Schenker is such a frequent visitor to Japan, there is a danger of getting stuck in a “same old stuff” situation due to his vast and terrific back catalogue. Adding new songs into the set gives his loyal Japanese audience variation and excitement.

Robin McAuley and Michael Schenker on stage at Toyosu Pit in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Following the instrumental MSG classic “Into the Arena”, we get a section fronted by Robin McAuley which reminds us how strong the McAuley-Schenker Group version of MSG was with songs such as “Bad Boys”, “Save Yourself”, “Anytime” and “Love is Not a Game”.

Graham Bonnet on stage at Toyosu Pit in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Graham Bonnet fronts a fantastic section consisting of “Dancer”, “Desert Song”, “Night Moods”, “Assault Attack” and “Searching for a Reason”. Then follows a Gary Barden-fronted section of the show featuring “Ready to Rock”, “Attack of the Mad Axeman”, “Rock My Nights Away”, “Messin’ Around” and “Armed and Ready”, before the terrific 30-song show closes with a four-song UFO section. Quite an ending to a fabulous show.

Gary Barden on stage with Michael Schenker Fest at Toyosu Pit in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Michael Schenker, one of the most influential rock guitarists of all time, still got it and he is also wise enough to never let his guitar overshadow the songs. We get plenty of fantastic guitar solos, but they never overstay their welcome. With four world-class vocalists in his touring band, Schenker wisely lets them shine too. Michael Schenker Fest contains so much musical firepower that few bands in the world even get close.

Michael Schenker Fest on stage at Toyosu Pit in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Gig review: Ace Frehley on fire in Roppongi

Ace Frehley on stage at Billboard Live in Tokyo. Photo: Masanori Naruse

By Stefan Nilsson, Roppongi Rocks

Ace Frehley sets Tokyo on fire with a smoking hot show at Billboard Live in Roppongi. “Ace is back and he told you so!”

Ace Frehley on stage at Billboard Live in Tokyo. Photo: Masanori Naruse

Ace Frehley at Billboard Live, Roppongi, Tokyo, 5th September 2018

As legendary KISS guitarist Ace Frehley sings in his anthem “Rock Soldiers”: “Ace is back and he told you so!”. He’s back indeed. I have never seen him better. Ace is on top form this evening with splendid guitar work, a bunch of exquisite guitar solos and good vocals. He also looks the part with shades and leather boots as well as his trademark lightning bolt guitar strap and Gibson guitars. That combined with a flawless set list consisting of fan favourites make this evening perfect. For this run of eight shows in Japan, Ace is backed by the terrific Gene Simmons Band, minus Gene Simmons. The great guitarists Ryan Spencer Cook and Jeremy Asbrock and bassist Philip Shouse are anchored by none other than terrific Accept drummer Christopher Williams. As you can imagine this is a step or two above your normal backing band. With all four of them also good vocalists, they help Ace in making the show into a home run.

Ace Frehley on stage at Billboard Live in Tokyo. Photo: Masanori Naruse

They open in style with “Rip It Out” from Ace’s first solo album from 1978. They then move on with KISS classic “Hard Times” from 1979’s “Dynasty” album and the KISS cover version of Rolling Stones’ “2,000 Man” from the same album.

The set this evening is dominated by KISS classics (such as “Parasite”, “Cold Gin”, “Love Gun”, “Shock Me” and “Detroit Rock City”) but we also get the Frehley’s Comet anthem “Rock Soldiers” and “Emerald”, a Thin Lizzy cover from Ace’s recent “Origins Vol. 1” album. Another cover, the Russ Ballard-written “New York Groove” (originally recorded by Hello) is closely associated with Ace since it was included on his first solo album and also featured in the KISS live set back in the day.

Ace sings lead on most songs, but the whole band contributes with vocals on various songs. On “Strange Ways” (from KISS’ 1974 album “Hotter Than Hell”), we get to hear drummer Christopher Williams take on lead vocals and it sounds fantastic! Yet another fab drummer who can sing like it’s nobody’s business.

During the obligatory guitar solo we, of course, get to see smoke coming out from Ace’s Gibson guitar, just like it did during the big KISS shows in the 1970s. In the middle of his extended guitar solo, he changes guitars and then says: “I’m back!”. Indeed he is and how great it is to see this 67-year-old rock star still deliver at a world-class level.

Ace Frehley on stage at Billboard Live in Tokyo. Photo: Masanori Naruse

Ace and his band finish the fabulous set with a high-energy version of “Deuce”. This is it! The combination of the one and only Ace Frehley on form, great songs and a band that is better than most. This is how it’s supposed to be done. As a life-long KISS fan, it is hard not to be overexcited by an Ace Frehley gig, but this evening in Tokyo, Ace exceeds all expectations. Thank you, Ace, for such a great way to spend a Wednesday evening.

Ace Frehley on stage at Billboard Live in Tokyo. Photo: Masanori Naruse

Gig review: The Agonist, Cellar Darling and Vulture Industries

Vicky Psarakis of The Agonist on stage in Tokyo. Photo: Caroline Misokane, Roppongi Rocks

By Caroline Misokane, Roppongi Rocks

Canadian metal band The Agonist returned to Japan after a long absence and showed their Japanese fans that they still got it.

The Agonist, Cellar Darling, Vulture Industries, Icarus Lives and Cancer at Cyclone, Shibuya, Tokyo, 25th August 2018

Vulture Industries

Vulture Industries on stage in Tokyo. Photo: Caroline Misokane, Roppongi Rocks

Following the two Australian opening acts, as the stage curtain is raised once again, five Norwegian guys dressed in a very peculiar way become visible, with vocalist Bjørnar Erevik Nilsen raising his hands for the audience to follow him. Vulture Industries starts playing the high-energy “Tales of Woe” from their latest album “Stranger Times”. While all the band members do a great job, with much passion and dedication, it is impossible to not feel mesmerised by Bjørnar’s psychedelic performance. His body is led by the beat of the songs, while his voice just comes from the bottom of his soul, paralysing the ones in front and beside him. Guitarists Øyvind Madsen and Eivind Huse are very connected with their riffs, but it is when they also assume the vocals that things get even more intense. To close its first ever Japanese show, the band chooses to do a cover of Devil Doll’s “Blood Don’t Eliogabalus”. During the song, Bjørnar comes down from the stage, dancing in circles among the people and choosing two fans that are pulled closer to him while he is singing with his dark voice very close to their faces. I guess they were a little frightened. The venue may not be huge, but Vulture Industries is definitely the kind of band that gives everything to an audience of 10 or 10,000 people, and that is what makes a show unforgettable in the end.

Cellar Darling

Anna Murphy of Cellar Darling on stage in Tokyo. Photo: Caroline Misokane, Roppongi Rocks

The Swiss trio Cellar Darling, formed by Anna Murphy, Ivo Henzi and Merlin Sutter, comes with folk metal roots from their time in the band Eluveitie. It is not an exaggeration to say that when the new group was announced I was expecting excellence – and that is what we get this evening. Opening the show with “Black Moon”, Anna Murphy brings deep emotion in her voice from the first to the last note. It has been a while since a band thrilled me this way. The atmosphere created by the connection between band and audience brings tears to some eyes, including mine. Even when her hurdy-gurdy instrument stops working, Anna continues to lead the show amazingly, even making some jokes about it. Guitarist Ivo Henzi has a fine personal touch in every riff and solo he plays. The chemistry in the band is incredibly beautiful. The highlight of the band’s set is “Avalanche”, the opening song of the “This Is The Sound” album and also the band’s debut single. With the audience singing every word, Anna lets them lead the final chorus, letting people scream their hearts out while showing the band their love and respect. As the problem with the hurdy-gurdy gets solved, the band starts to play “Redemption”, a beautiful song starting with only vocals and hurdy-gurdy that keeps growing until the final verse. They finish their much too short set with “Challenge”. This was definitely one of the best shows I have seen so far this year. A mixture of emotions and storytelling was present from the first to the last song. Doubtlessly Cellar Darling has much more to offer to their audience. The Japanese fans will surely see them again soon.

The Agonist

The Agonist on stage in Tokyo. Photo: Caroline Misokane, Roppongi Rocks

The evening’s headline act, Canadian metal band The Agonist, is back in Japan after a six-year absence. Starting their set with the aggressive “My Witness, Your Victim” from 2015’s “Eye of Providence” album, singer Vicky Psarakis shows us why she was the one chosen to give voice to the band’s lyrics. As the fans have been waiting to see The Agonist for a long time, soon the audience goes crazy, banging their heads and, following Chris Kells’ command, the first circle pit of the night appears. “A Necessary Evil” and “Thank You Pain” keep the flame alive, while Vicky does an awesome job combining screams and clean vocals. With her powerful-yet-sweet clean voice, it is difficult to decide which I prefer. When a performance is so intense, some brief pauses are needed for both band and audience to breathe. Continuing with “The Tempest”, considered by many fans as the band’s anthem, guitarists Danny Marino and Pascal Jobin give us a lesson in heavy riffs and fast solos, while Vicky and Chris share the vocals and leading the audience to madness. It is a short set, but it is long enough for the band to show that after some time of changes and conflicts, they have found their place and have stood their ground in the metal scene.

Vicky Psarakis of The Agonist on stage in Tokyo. Photo: Caroline Misokane, Roppongi Rocks

A Japanese jam session with Tony Dolan of Venom Inc

Tony Dolan, Sinjilow, Mirai Kawashima and Akira Tominaga. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

Tony “The Demolition Man” Dolan spent a weekend in Tokyo before kicking off another North American tour with Venom Inc. Roppongi Rocks was there to witness the madness.

Nemo and Gaku of Survive. Photo: Stefan Nilsson, Roppongi Rocks

Tony “The Demolition Man” Dolan made himself a name with Atomkraft in the 1980s before he took over as the frontman of Venom. He continued his career with M-Pire of Evil before he created Venom Inc in 2015 with Venom co-founders Jeff “Mantas” Dunn and Anthony “Abaddon” Bray. Venom Inc has been a success with a great album of new music as well as successful tours around the world. Earlier this year, Venom Inc toured Japan again and sounded fantastic. Shortly thereafter Mantas had a heart attack which forced the band to postpone some of its touring commitments while Mantas recovered. Thus, Dolan had an opportunity to come back to Japan to spend time with his Japanese metal friends.

Tony Dolan and Reezi Godkiller jamming in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

In front of a select group of very lucky fans, on Saturday 25th August, Tony Dolan jammed in a tiny Tokyo basement club with a terrific line-up of Japanese rock and metal stars: Nemo, Sinjilow and Gaku of Survive, drummer Akira Tominaga of United and guitarists Daisuke “Hamadie” Hamate (Alice in Hell), Hiroaki “Hiro” Saito (Head Phones President) and Rie a.k.a. Suzaku.

Mirai Kawashima, Akira Tominaga and Rie a.k.a. Suzaku jamming. Photo: Stefan Nilsson, Roppongi Rocks

This afternoon Dolan shared vocal duties with two underground black metal legends: Mirai Kawashima of Sigh and Reezi Godkiller of Apologist. The star-studded line-up performed Venom classics such as “Welcome to Hell”, “Black Metal” and “One Thousand Days in Sodom”. We also got a brutal and chaotic version of Motörhead‘s “Ace of Spades”. Lots of fun with some classic metal music performed by a bunch of friends having a laugh together.

Tony Dolan, Akira Tominaga and Daisuke “Hamadie” Hamate jamming. Photo: Stefan Nilsson, Roppongi Rocks

One of the nicest men in metal, The Demolition Man is also a terrific frontman. He clearly loves performing and getting the opportunity to jam with some of his Japanese metal friends was a great way to get ready for a new tour with Venom Inc.

Tony Dolan, Akira Tominaga and Hiro Saito. Photo: Stefan Nilsson, Roppongi Rocks

During his weekend in Tokyo, hosted by Yasukazu Takahashi and Hiromi Sugou of UPP-tone Music, Dolan also managed to fit in a bass clinic and guesting a heavy metal DJ party. Not a bad way to warm up for a new tour.

Tony Dolan with his bass. Photo: Stefan Nilsson, Roppongi Rocks

Album review: Kiyoshi “KIYOSHI3”

By Stefan Nilsson, Roppongi Rocks

Kiyoshi, the Japanese bassist in Marty Friedman’s band, is back with her third solo album. It’s fabulously different.

For those of you who have seen Marty Friedman perform live in recent years, you know that Kiyoshi is one hell of a bass player and an entertainer. She might look like a quiet and cute girl in a red dress, but when she starts playing her Warwick five-string bass, she’s fierce and unstoppable.

On “KIYOSHI3”, her third solo album in two years, we get to hear a somewhat different side to her. Here, too, she treats us to some fantastic bass playing, but the musical styles are different and we also get to hear her sing lead on all the songs. It takes a while before I realise that the album only consists of bass, drums and vocals. “The instruments used on this album are only bass and drums. I played all the basses. There is only me and the drummer Eiji. We are a two-piece band. I played piano a little on the first and second albums, but on this album, there are no other instruments,” Kiyoshi informs me as I listen to her new songs. No guitars, no keyboards, nothing but a bass and a drum set (played by Eiji Mitsuzono, perhaps best known as the former drummer of Japanese rock bands Sads and Bow Wow). The scaled-down instrument line-up influences the sound of course, but it also shows us what a fine musician Kiyoshi is. She uses her bass in ways that you’d think was impossible. It’s an 11-track album and not once do I miss a guitar or any other instrument. Between her bass playing and her voice, Kiyoshi manages to create fine music which sounds complete.

Genre wise, this album belongs to a very Japanese style of modern rock and pop. There are echoes of some of the edgier, less bland, J-pop artists here. But Kiyoshi is Kiyoshi and she carves out her own niche with this new album. Her musical skills are miles ahead of most other Japanese rock and pop artists. She’s not only a great performer of music, she’s also a great songwriter. The emotional “The End” is the album’s standout track. It’s sheer brilliance. Other favourites of mine include “Speed”, “Baka”, “Escape” and “Stay”.

Kiyoshi continues to tour with Marty Friedman globally. Additionally, she is doing solo shows in Japan where she also occasionally performs with other bands and projects.

Kiyoshi’s album “KIYOSHI3” will be released in Japan on 7th September.

Kiyoshi on stage in Tokyo in March 2018. Photo: Stefan Nilsson, Roppongi Rocks

Album review: Mantar “The Modern Art of Setting Ablaze”

Hanno of Mantar on stage in Tokyo in 2017. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

German noisemaking duo Mantar is back with a terrific unclean new album built on raw energy and anger.

How does one define the music of Mantar? The German duo, consisting of Hanno Klänhardt on vocals and guitar and Erinç Sakarya on drums, label themselves as “black metal doom punk”. It’s dark like black metal, it’s heavy like doom metal and it is has the relentless energy of punk rock. There is anger and rage here, some kind of raw energy. It is sort of animalistic, a bit vulture like. It’s unclean and smelly. It’s music that seems infected by some flesh-eating virus. Mantar is one of those bands that really are doing something different. They’re for real, they don’t care about trends or what is expected of them. They make music for themselves. Formed in 2012, “The Modern Art of Setting Ablaze” is the band’s third full-length studio album, following 2014’s “Death by Burning” and “Ode to the Flame” in 2016.

Erinc of Mantar on stage in Tokyo in 2017. Photo: Stefan Nilsson, Roppongi Rocks

When they performed in Japan for the first time last year, I was blown away by their show. Two guys, facing each other rather than the audience, playing some fantastic noise. Seeing them live I was amazed at how they managed to sound so heavy with only one guitar and drums and no bass in sight. On the new album, that is still the case. The duo sounds like a quintet, at least. The relentless track “Obey the Obscene” chews up its listener. “Dynasty of Nails” is my favourite on the album – it attacks you like a slap in the face with a wet fish followed by never-ending punches and kicks before it turns into doom territory and then back to the punch-and-kick trail. Mantar has its roots in Bremen and Hamburg in northern Germany and the music actually sounds like it comes from the less fancy side of these cities: a damp, seedy, industrial landscape filled with warehouses down by the port. This is real music. It’s genuine and I really dig it.

Mantar’s “The Modern Art of Setting Ablaze” is out now via Nuclear Blast internationally and Ward Records in Japan.

Hanno of Mantar on stage in Tokyo in 2017. Photo: Stefan Nilsson, Roppongi Rocks

Album review: Yes featuring Jon Anderson – Trevor Rabin – Rick Wakeman “Live at the Apollo”

By Stefan Nilsson, Roppongi Rocks

Jon Anderson, Trevor Rabin and Rick Wakeman mark 50 years of Yes with a splendid progressive rock live album.

Legend has it (I don’t know if it is true, but never let the truth ruin a great story), that back in the day there was a one-word review of a Yes album and it read: No. Listening to “Live at the Apollo”, I am pleased to say yes to Yes. Maybe it is an age thing, but as the years go by, I find myself increasingly listening to progressive rock music and Yes is up there among the absolute best.

Yes featuring Jon Anderson – Trevor Rabin – Rick Wakeman’s new live album “Live at the Apollo” was recorded in Manchester, England in 2017 and being released now to mark the 50th anniversary since Yes was originally formed. With two different versions of Yes currently in existence, things are bit confusing. The other version is led by Steve Howe and Alan White. This version of the band – led by Jon Anderson on vocals, Trevor Rabin on guitar and Rick Wakeman on keyboards – is in great shape. They call themselves “The definitive lineup of the greatest progressive rock band ever”. That’s a big claim, but I’d say they’re not far off the truth. This is top-notch stuff, not just some former members of a band getting together for fun or cash. They do more than justice to the old Yes material while not sounding dated or tired at all. The result is nothing short of progressive rock brilliance.

On this live album we get quite a lot of Yes material is from the 1980s, but we also get plenty of good stuff from the 70s, including “And You and I”, “Awaken”, “Roundabout”, “Heart of the Sunrise”, “Perpetual Change”, “Long Distance Runaround” and “I’ve Seen All Good People”. Anderson’s voice is as good as ever. Rabin is on fire with his guitar – just listen to his terrific work on “Lift Me Up” – while Wakeman remains the keyboard wizard he has always been (not least on “Rhythm of Love” and “Heart of the Sunrise” he gets to shine). Yes, there is still a future for the band Yes.

“Live at the Apollo” by Yes featuring Jon Anderson – Trevor Rabin – Rick Wakeman is out today in Japan via Ward Records. It is being released in multiple formats, including LP, DVD and Blu-ray.