Yahoo! Music Album Review

Released on 24/03/08
Label: 679 Recordings

By their own admission, the second album from Eel Pie Island's favourite young sons, Mystery Jets, is a very different record to 2006's "Making Dens". Where their archly eclectic debut - a sprawling, loose-limbed mass of danceable indie, art school pop, harmony laden folk and prog-rock invention - held the mighty Syd Barrett as its inspiration, according to the Jets themselves, "Twenty One" owes more to Michael Jackson and Phil Collins. At points there's even a little Wet Wet Wet and Roxette to consider. Their words.

It's not hard to see where they're coming from. Far from being loaded with irony, the truth of such claims is easy to spot. Out goes the analogue atmosphere of their debut, along with the dreamy detours and distractions. In comes the lithe, new wave pop joy of "Two Doors Down", The Police-alike "MJ" and "Hideaway"'s pneumatic shimmy, swathed in synths and guitar shredding. So if not, thankfully, an exact recreation of Collins's seminal MOR classic, "No Jacket Required", the high gloss spirit of 1985 is most definitely alive, well and in full effect.

As is the era's emotional baggage. After the day-glo choruses and saxophone solos - no really, the already brilliant "Two Doors Down" is made even more so by excitable horn blowing of the kind Spandau Ballet would to be proud of - overblown tales of love and break-ups are the most welcome '80s addition to the Mystery Jets new shiny persona. The aching refrain of "Your heart is like a hand me down / Some things are passed around and around", ensures that for all its clean guitars and wine bar groove, "Hand Me Down" is anything but a naff pastiche.

Having the hit attuned ears of celebrated DJ/remixer turned producer Erol Alkan - most recently linked with Franz Ferdinand's third album - at their disposal no doubt harnessed their full pop potential. Having Blur producer Stephen Street help fashion stand-out single "Half In Love With Elizabeth" probably didn't hurt either. But in fairness, the real leap forward is in the songwriting. As if to prove the point, "Umbrellahead" momentarily invokes their former quirkier selves and immediately derails their progress.

For the most part though, "Twenty One" is a sharp and clever album, full of instant highs and gleaming hooks, yet with the smarts and intellect to back them up. It may not be as inventive as their debut, but for taking the pop thrill of the '80s and giving it a heart and something to think about, it's way more impressive.

    by Dan Gennoe