Making an album even more vibrant than
Life in Cartoon Motion would have been difficult for
Mika. On
The Boy Who Knew Too Much, he doesn't try to top himself; instead, he reins in just enough of his debut's indulgent tendencies to let his gift for great melodies and hooks be the focus. His multifaceted pop sounds a little calmer and a lot more confident here -- rather than cramming songs with moments intended to impress that end up being overwhelming, "Dr. John"'s finger-popping minor fall and major lift and the calypso-tinged "Blue Eyes" actually are impressive because they're so direct. While
Life in Cartoon Motion was remarkably engaging, occasionally it felt like
Mika was more skilled at pastiche than presenting his own sound. Here,
Mika and producer
Greg Wells fashion songs that sound truly distinctive; though touches of inspirations and peers like
Elton John,
the Bee Gees, and
the Scissor Sisters still pop up, the musician
Mika borrows from most on
The Boy Who Knew Too Much is himself. The album's opening trio of tracks nods to his debut's most vivid moments without copying them: "We Are Golden" is every bit as sunshiny as "Love Today"; "Blame It on the Girls" builds on "Grace Kelly"'s sleek style; and "Rain" is a kissing cousin to "Relax"'s pulsing, melancholy disco-pop.
Mika tries a few different sounds on for size, most notably on "Toy Boy," a subversively sweet singsong that lies somewhere between
Elvis Presley's "Wooden Heart" and
the Dresden Dolls' "Coin Operated Boy," and the torchy finale, "Pick Up Off the Floor." While ballads still aren't his forte, slower tracks like the
Imogen Heap collaboration "By the Time" offer welcome breathing room from "One Foot Boy" and the album's other almost ridiculously catchy tracks. Anyone who liked
Life in Cartoon Motion's bright, brash approach won't be disappointed by
The Boy Who Knew Too Much -- it's clear
Mika knows exactly what he's doing.