Soon after ‘We Are Golden’ hit airwaves and its representational teenage-bedroom video invaded TV screens, an instant uproar was lifted for Mika’s coming album, The Boy Who Knew Too Much. Notwithstanding the ridiculously long and silly title the record bears, the record itself is not so silly. The Greg Wells collaboration makes Mika transcend into more dense lyrical ground.

The texture of Mika’s voice is sensational and its application to the album cuts just result in a majestic slick fusion of inspiring pop. It is a mix of wholesome melodies and strangely dance-resonating ballads. It embodies yet another cohesive, mulling over of Mika’s niche of power pop rock.

The magic behind the album is it turns something depressing into something unbelievably lighter than it is professed. There are ominous themes throughout the album, most obvious in ‘Rain’, the anxious-obsessively sung ‘Touches You’ and the literal bizarre narrative of ‘One Foot Boy’. The trick is Mika’s vocal flexibility and skillful managing of the piano amid pop tunes sprinkled with a full band and strings, boosting up the songs and the listener mutually. Sonically, it is fundamentally Mika; the record is more of a step up in production and songwriting, which still reflects Mika’s colors, energy and gaudy spirit.

‘We Are Golden’ becomes an instant favorite upon first play, with its loud children choir protesting in faultless harmony referencing the song’s title. ‘Blame it on the Girls’ is an extensive piano play throwing in a heavenly choir woo in its bridge; it undertakes one of the many catchy flashes in the album. ‘Good Gone Girl’ is sung in a rapid manner and has Mika cooing throughout, reminding the listener of Mika’s talent. ‘Blue Eyes’ is captivating; the Caribbean air of the song adds to a drift away in Mika’s usual style; its flair more or less teleports the listener to a sight of the beach, with water splendor, and the sand underneath one’s feet.

 The glamour of ‘I See You’ detaches all the highlights from the previous album and contributes hugely to Mika’s resourcefulness as a singer and as a songwriter. The sarcastic tone of ‘Toy Boy’ is worth the whole record alone, where Mika (for being replaced with a Barbie doll) sings, ‘she’s the meanest hag that there’s ever been’, in mischievously gentle orchestration. ‘Pick up off the Floor’ is jazz saloon sounding, and a magnificent closing to the idiosyncratic, strong voiced pop appellation.

The Boy Who Knew Too Much does not move much further from the perfection of Mika’s first release. It even features a resembling cartoonish themed cover to that of the first album, truly reaffirming the superlative visual and musical artistry from the last record on the new. The Boy…feels more of a continuation of where Life In Cartoon Motion left off; it is not a recycling of tracks but an extension.