‘Return to form’ can sometimes be a cruel phrase when applied to an artist usually following a long period when attempts at a experimenting and self -expression are regarded as not working; when it’s finally time to ‘give the people what they want’, especially when the artist in question is finally happy with their new found creative freedom. It’s also a phrase which may have been overused in association with the Pet Shop Boys over the last decade or two. I’m reluctant to use it here as initially “Electric”, their twelfth  studio album, feels more like one of their semi-regular ‘Disco’ excursions rather than a new album proper.  There are only nine tracks, two of which are instrumental, with almost every track being at least 5 minutes long; there are no slow songs, but there is a ballad. But it’s much more than that, these are all new compositions, not remixes, and bears closest resemblance to 1988’s ‘Introspective’  which was an exceptional collection of long, newly-written at the time, dance-orientated songs.  “Electric” also contains some of the most PSB-‘type’ songs the duo have released in a very long time and with Stuart Price’s bombastic, detailed and instantly gratifying production this is an album that fans who may have drifted away in recent years will feel instantly and overwhelmingly connected with.

“Axis” is an instrumental, extended intro, sounding very much like of a mid-eighties TV theme, something butch, as imagined by Bobby O and Harold Faltermeyer; it’s warm and full sounding and is where the album title comes from.  “Bolshy” follows, with its emphasis on the Russian Bolshevik rather than general stroppiness, and is the track which really launches the album with its house piano, familiar melody patterns and sarcastic attitude. Midpoint the vocal track sticks on the ‘O’ of Bolshio and a familiar cowbell sticks to the beat and acid house squiggles start to spiral out and take over. “Love Is a Bourgeois Construct” could have been a worry with the album peaking too early, an unwarranted concern as it turns out. With a filtered intro very much like Madonna’s “Hung Up”, also produced by Price, strings saw before a twee, archetypal British sample floats around, and then thump, we’re off. Like the best tracks on “Electric”, “Bourgeois” has a twin with an earlier PSB classic and in this case it’s the mighty “Left To My Own Devices”; if it doesn’t quite match the level of brilliance of that track then it comes pretty close.  ‘I’m exploring the outer limits of boredom, moaning periodically, just a full time lonely layabout, that’s me’ is Neil Tennant’s admission as, in a heightened version of himself, he manages to refer to Tony Benn, Karl Marx and uses the word schadenfreude all in the same song.  A male choir crashes in a la “Go West” and it’s this one track that both grounds and dictates the overall sound and scale of “Electric”.

“Fluorescent”, one of the best tracks, is moodier; minor in key with an ascending synth melody that constantly threatens to turn into “Fade to Grey” and containing some of the best lyrics on an album packed with them (‘I can’t deny you’ve made your mark with the helicopters and the occasional oligarch…every scandal has its price’) with one of the PSB favourite themes of international glamour and clandestine lives led at night continuing after they were first introduced on the couple’s debut album from 1985, ‘‘Please’. “Electric”’s non- ballad, ballad is the thumping, squally  “Last to Die”, a cover version of a Bruce Springsteen song which I’ve never heard before  but here sounds very much like a Pet Shop Boys original; pompous, sad, sincere and just a very good pop song.

Aside from “Bourgeois”, the two very big hitters are saved until last. “Thursday” is essentially “West End Girls”, sonically definitely, with Chris Lowe’s monotone chant of ‘Thursday, Friday, Saturday, Sunday’ leading into a brilliantly realised, working class, blokey rap and middle eight by Example.  Listen to the way he pronounces ‘memories’ for example (excuse pun); it was always about the details. “Vocal” is the most euphoric and obvious track on “Electric” and plays to many of the clichés of the current EDM craze with its big, cheesy, rave hook which is straight from 1999, see in particular Felix’s massive anthem “Don’t You Want Me”. But it’s the combination of the audaciousness of this sound coupled with the themes of nostalgia and narcissism (‘I like the lead singer, he’s lonely and strange….It’s in the music, it’s in the song, and everyone I hoped would be here has come along’) and also the subject of music itself that makes it such a success; it’s moving and it has history.  The Pet Shop Boys have been making records like this for nearly 30 years; you can jump up and down to it and it will leave its mark somewhere deep.

So in 2013 the Pet Shop Boys sound an awful lot like they did whilst they were at their peak in 1988  and it appears as though it’s very much business as usual after it was strongly hinted that the business could finally be about to close down completely (last year’s “Elysium”). You could argue, and many will claim, that it’s the inevitable “return to form” then, but the PSBs form should not really be called in to account.  All of their releases have merit, just in varying degrees, and their decision to do this seems a natural one; the whiff of cynicism is not detectable. In Stuart Price, Lowe and Tennant have found a producer who sounds like the lost third member and on “Electric” he has delivered his most on-the money, consistent production to date on some of the most accessible and immediate songs the duo have written in years. Whether or not it buys new fans, younger fans, is debatable and will remain to be seen but there are enough people who will rightly adore this sparking, intelligent and brilliant pop record and it does feel as though this album was made especially for them.