Given the personnel, 90125 counts as a reunion album of sorts, but considering the sound, reinvention might be a more apt term.

Credit for much of the change would seem to belong to yet another Yes alumnus, producer Trevor Horn. Applying the same kind of flashy pop sensibility he showed on ABC's Lexicon of Love, Horn has rechanneled Yes' predilection for sonic excess, and the result is a sound that relies on production and arranging tricks instead of instrumental flash.

Although 90125 occasionally falls back on old tricks, as in "Cinema" and the overblown "Our Song," most of the album is surprisingly spritely and poppish. Electronics, especially the new generation of synthesizers, are heavily used, but Horn's most canny device is his manipulation of Yes' choirboy vocal harmonies. From the inspired polyphony of "Leave It" to the bit of musique concrete that prefaces "City of Love" to the persistent sweetening of each chorus, Horn manages to find an unexpected hook every time the band members open their mouths. This emphasis on melodic appeal over instrumental prowess may alienate some of Yes' longtime fans, but if it continues to result in records as listenable as this one, then this may turn out to be one reunion that tops the original. (RS 413)

J.D. CONSIDINE