Swiss duo Yello get electrified, and deliver their best album since 1991

There are moments of greatness in their back catalogue with singles such as 1984's timeless "Wicked Game", the ubiquitous "Oh Yeah", techno classics such as "The Race" and their sophisticated production on The Associates' "The Rhythm Divine", a track they went on to cover with none other than Shirley Bassey. Their place in history as an integral part of pop history is already guaranteed.

This thirteenth album, the first since 2009, comes on the back of the excellent 2014 Boris Blank retrospective Electrified, an extensive collection of Blank's more esoteric works taking in electro, ambient and soundtrack work plucked from his vaults, the sound of which has informed this album.

Lead cut "Limbo" goes down the route of classic Yello tracks; it's resolutely bass heavy, with Meier's impossibly deep vocals and a hooky chorus which nods to the contemporary sound of dubstep, preventing it sounding like a track from three decades ago.

The smoky jazztronics of "30'000" Days" is the album's most cinematic moment, Meier musing about a devilish act he'd undertaken ("Hours minutes seconds days / Eventually a year passed by / I'm looking deep into my time / What have I done...and why?"). This is typical Yello fodder that shows they've retained their ability to thrill with a dapper effortlessness.

"Electrified II" is of a similar ilk but adds disco guitars and smoky female vocals. A tense standoff occurs with Meier's typically lyrical surrealism: "This creature got me electrified / I tried to escape her...but it was useless/ I had to make a decision ...being driven to go mad / I decided to be driven to my limits". It's a go to track.

Peppering the album with female vocalists results in solace from Meier's husky vocals, a full record of which could prove overbearing. Fifi Rong's appearance on "Kiss The Cloud" gives the LP its moment of Bassey-esque melodrama, while the crisp 4/4s of the Malia-featuring "Give You To The World" could easily be a cut from the underrated Kelis album Flesh Tone, both tracks proving that Yello still have the ability to give great pop.

It all results in their strongest album for over two decades. Although they've managed strong long players in the past - '83's You Gotta Say Yes to Another Excess and Flag five years later - their skill at making brilliant pop singles hasn't transferred into consistently producing great albums as successfully as the likes of the Pet Shop Boys or Depeche Mode. Yet still, they're one of those acts who, despite sounding the same throughout their career, have managed to avoid ever sound boring.