The debut CD, "200 KM/H in the Wrong Lane", by t.A.T.u. is, at the same time, seductive and coy. The result is an album of paradoxically tempestuous bubble-gum pop that pulls the listener in — despite our knowing better.

It's no coincidence that uber-producer Trevor Horn had a hand in the making of a number of tracks here, including the breakout hit "All The Things She Said" and the follow-up single, now burning up the charts, "Not Gonna Get Us".

Horn's marketing skills, first demonstrated in the early 80s as co-owner of the Zang Tuum Tumb (ZTT) label, are in full evidence as well. Back then, ZTT combined hook-laden pop with an element of often-overt sexuality to create controversy and, ultimately, hit songs. Just two examples are Frankie Goes to Hollywood (blatant homoerotica) and Propaganda (hints of sadomasochism).

In this new millennium come the Sapphic stylings of t.A.T.u., featuring two very apparently "out" young lesbians. From the album cover itself, on which these birds look like the proverbial pussycat who ate the canary, to the music within, a mix of veiled (and not so veiled) lyrical references to young love - "forbidden" or otherwise.

Except in a few instances, these references are veiled enough to play to a wide audience. So, all young listeners can find something appealing here: The girls want to be strong and independent, like the girls in t.A.T.u. The boys are attracted by the unspoken promise of some hot girl-on-girl musical action. If you know what I mean. If you're a guy, I'm sure you know all too well.

The "band" is basically the two leads - Julia Volvoka (the femme) and Lena Katina (the butch, comparatively speaking). Creating the accompanying sugar(y) "wall of sound" is a team of producers, songwriters and studio musicians. While some have out'ed t.A.T.u for not writing or playing its own music, there is - just like the Horn marketing connection - a precedent for this too.

Before Buddy Holly came along, the t.A.T.u. method of music making was the norm. The singers were just that - the voice. All elements of crafting a fine pop song were a group effort. It was only after Holly and, especially, the D.I.Y. punk rock aesthetic, that this "song by committee" became the exception.