"The trio's captivating aesthetic is thanks to a symbiotic intensity of expressio. It contains traces of '70s free jazz psychedelics and particles of contemporary club culture and aspires to a broad fusion of free jazz and electronic music, energetically driven by a collective improvisation which outflanks solo gymnastics. After their celebrated 2016 recording, The Willisau Concert, with YES the trio have added fire to a highly original, unconventional musical art, swaggering again through electronic landscapes.

"YES: welcome to transgressive zones of sound, multifaceted sonic structures, diverse aggregate states, moods and colliding rhythms. YES: enter the cabinet of mirrors, reflecting influences, material, colours and double (dance) floors. More closely intertwined, and loosely interlocked, the Trio Heinz Herbert sound comes apart in the sum of the threefold individuals and in an interplay based on blind trust, on YES they cele-brate music which is always in motion, constantly building new forms, reminiscent of the shifting, morphing multiple body of a flock of birds"-Florian Keller, from the liner notes

"Youthful ingenuity and meritorious technical aspects mark this Swiss trio's cunning live release at a Willisau venue, enhanced by a crystalline soundstage that spawns great depth amid the highs and lows. Moreover, their ability to multitask while generating a polytonal consortium of EFX-based treatments, while effortlessly sliding across numerous genres makes for a irrefutably compelling listen.

From the onset of the 18-minute opener "Granulare Liebe / LEI," it became clear that the trio was meticulously assembling a piece that would branch out into something much larger in scope as they worked through an abstract percussion vamp led by drummer Mario Hanni. It morphs into an intensifying and affectionately maddening sequence of mini-motifs, brushed with faint echoes and the music hall's natural reverb characteristics. Moving forward, the band ascends with quiet synth patterns, simmering cadences, ostinato grooves and Dominic Landolt's feverish distortion guitar phrasings. But the dynamic shifts a bit on the following track "Fragment Z / Brugguda," which resides somewhere in-between experimental ambient-electronica, minimalism and bizarre jazz rock stylizations, featuring the guitarist's scratchy fuzz-toned lines. And they add a cool piano-drums groove that comes out of nowhere, followed by ricocheting electronics. Bear in mind, these are structured works and not solely designed with free-floating improvisational metrics.

"Hyper Steps" is a curvy and rolling ballad driven by pianist Ramon Landolt's jazzy and daintily executed voicings, counterbalanced by a memorable hook. Yet "Heinz Steps" is launched with Dominic Landolt's Black Sabbath style shredding that dissipates into Ramon Landolt's softly textured effects, leading to an upbeat jazz vamp. However, they circle back around to a blitzkrieg modus operandi atop a buoyant pulse. Overall, this is one of those albums that separates itself from the proverbial pack and an unanticipated surprise that is nestled within one of those unrestricted musical zones that cannot be stereotyped or easily pigeonholed."-Glenn Astarita, All About Jazz