Aqua blue mascara from Jody Watley's "Looking for a New Love" stains the sunken cheeks of She's in Control's lead cut, "Me & My Man," and boogie bass elicits bunchied hair-flips and sequined hip-cocks as Lebanese-Canadian accountant/Chromeo frontman P-Thugg half-interestedly declares, "This is the new sound/ We came to get down/ Our name is Chromeo" with the Vocodered accompaniment of partner Dave 1. The Montreal duo's debut album is to '80s pop what Grand Theft Auto: Vice City is to Miami Vice-a simulacrum of a consequence-free world that never existed in the first place. Like the geekiest of Civil War re-enactors, Chromeo's presentation is picture-perfect, even if the blood is ketchup and the coke just baking soda. But faulting electro-pop for lack of substance is a philosophical cul-de-sac-as if beaucoup hooks and shimmy-shimmy shakes aren't substance enough. "Way Too Much" imagines This Year's Model-era Elvis Costello fronting A Flock of Seagulls, and on "Mercury Tears" Kraftwerk soundtracks a John Hughes spurned-lover montage (picture Ducky's solemn fedora fingering during the stark synth solo). Brimming with bubbling synthesizers and earnest vocals ("You're a needy girl/ I can tell when I look in your big brown eyes," Thugg lilts in the pre-chorus), "Needy Girl" is a single-of-the-year nominee, just don't ask which year. It's also She's in Control's one track without digitally adorned vox-proof that life's best when wanting, not fronting.