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From the short-lived Cinema Records (a late 80s subdivision of Capitol Records that released tepid, digital new-age product before tanking without fanfare) ex-Yes keysman Moraz released this solo album, now long out of print on CD and today a fairly valuable find among collectors. Bad news first: we're talking 1987 and the Cinema label here, so of course you can expect a sound that is fully swathed in the (ahem) 'cutting edge' digital keyboards of the day. But on the other hand, I have to grudgingly admit I think that on some efforts here Moraz used this technology in fairly creative ways. Also, several of the compositions bear Moraz' identifiable stamp as Virtuoso and Eccentric, and from strictly that standpoint have the mastery and quirkiness to generally hold the tolerant and patient prog listener's interest to at least some degree. "Light Elements," for example, consists of just two alternating chords, but features perhaps the most seemingly infinite use of gradual, intricate keyboard layering I've ever heard. "Beyond Binary" jitters about with unexpected arpeggios and rhythms. The obvious Mozart-era influenced "Modular Symphony" has a bizarre charm, and "Kyushu" actually strikes me as kind of proto-Ozric Tentacles in its own way. There are, of course, also a lot of typically Cinema (read: generic) moments as well, recalling not so much inspiration as rejected soundtrack music (e.g. "Cin-A-Maah," "Stressless"). So, the omission of this historical curiosum will certainly not make or break one's record collection, and I fear my writing thus far is already making it sound better than it is. One must concentrate mostly on the compositional aspects to appreciate it. However, I believe that if you took many of these songs and transported them back to the 70s with analog synths and a backing band, you'd have an material more or less in the ballpark of The Story of i. review by Joe McGlinchey — undated —