The sticker on the cover of Junior Senior’s second album declares that it contains “11 frenzied shockwaves of giddy pop joy!” Normally I wouldn’t take a cover sticker as the authority on an album, but in this case, I can think of no better way to describe this album, a 'doesn’t stop' assault of amazingly fun, over-the-top music.

Junior Senior are best known for “Move Your Feet,” a catchy pop song that featured a fun Microsoft Paint-style video. Their first album is a really good collection of songs, and there was the definite possibility that they could go off into obscurity as a one hit wonder. This album completely annihilates that possibility; it’s one of the best pop albums I’ve ever heard, seamlessly flowing from track to track to create a completely satisfying whole.

“Hello” opens the album with a burst of declarative energy, then quickly segues into the descending, pounding beat of “Hip Hop a Lula.” The song titles are a bit ridiculous, but the music consistently owns. Their sound draws a lot on '80s music, particularly Michael Jackson’s work. The falsetto vocals underscoring “Can I Get Get Get,” and foregrounded in “Ur a Girl” bring back the best of Thriller-era Michael. “Can I…” is full of fun loops and synth textures, an instantly addictive song.

“Take My Time” features guest vocals from Cindy Wilson of the B-52s, and pushes in a more new wave pop direction. The synths are still there, but are backed with hand claps and guitars on the triumphant ascent to the chorus. The plucked guitar line backing the chorus makes the song, driving things along and melding perfectly with the vocal. That said, the descending tinkly synth line is also crucial.

Really, every track on this album is a potential blockbuster single. “Itch U Can’t Scratch” begins with a space age synth background and repeated guitar pattern that sets a wonderful mood, before segueing into a rap from Junior and Senior. The chorus of the song is just sick, full of all kinds of interesting noise and a constantly danceable beat. This track in particular would kill in a club setting. Even the inexplicable “Bigfoot! Dance Now!” breakdown works in the context of the world they’ve created.

“We R the Handclaps” segues back into Michael Jackson mode, with some great falsetto vocals, going way up on the triumphant chorus then moving back to a mid-tempo groove for the verses. One of the things I love about the album in general, and this song in particular, is the sheer joy they put into the music. I like a lot of heavier music, but it’s refreshing to hear someone who just loves what they’re doing. This album is like The Polyphonic Spree of dance music, a completely infectious burst of joy.