Brooklyn's Class Actress opens well with the charged electro-pop of Keep You, which follows a fairly safe and sound pop construct, airbrushed by Elizabath Harper's sweet, crooning vocals.

Most of the album follows a similar template, coming up trumps with simple electronic pop songs such as Love Me Like You Used To and Weekend, with its chunky analogue chords and anthemic sheen, comparable to electro-pop protagonists such as Yazoo! and Erasure.

The track Limousine sounds very much like the lovechild of Sophie Ellis-Bextor and soul-influenced funk group Cameo; sounds horrible, but its irresistible blend of bouncy synth bass and agile keyboard hooks somehow wins you over regardless.

It's not all good, however, Rapprocher is a rather one-dimensional album, and Harper is forced to keep her limited vocal within strict parameters. The songwriting is variable, but overall there's plenty of good tunes; Bievenue adding to those already mentioned, suspended by its curling Cure-like bass hooks and shimmering, uplifting synth motifs.

Slick and consistent and very eighties-sounding - deliberately so - Class Actress welcomes us back to the New Romantic era with confidence and more than a little elegance. Harper's vocals, despite lacking the personality of her apparent idol (Madonna), suit the music perfectly, complementing rather than dominating.

For those stuck in the eighties, Rapprocher should come as a pleasant surprise.