The clue's in the name. The second album from Brooklyn disco revivalists Holy Ghost! is defined by the push and pull between various musical elements, and highlights that an impressive widening of scope has occurred in the two-and-a-half years since Nick Millhiser and Alex Frankel unleashed their self-titled debut album.

That record was almost a full four years in arriving, which makes the stretch between it and Dynamics seem short by comparison. A couple of stand-alone singles bridged that gap impressively enough; in fact, we've seen people wondering why 'It Gets Dark' didn't make the cut for the LP. There have been instances of bands leaving stronger material off albums, but an 11-track, 50-minute album works just fine. The duo have moved their sound forward, almost into the pop spectrum, and placing their hooks front and centre works wonders.

It's immediately audible in 'Okay', which opens the record with an impressive keyboard hook and the sort of lyrics that set the tone for the album as a whole, with Frankel and an ex-girlfriend drunk-dialling each other and ignoring each other's calls, refusing to admit that there could be something more between them. 'It Must Be the Weather', meanwhile, pitches oscillating synths against booming drums and a pitch-shifted bassline for arguably the most infectious track on the record, but there's a similarly introspective thread running through its lyrics, with Frankel unable to break free from a routine existence ("Waking with the nervous sunset, my hands are shaking 'cause I can't get enough rest / I think I want a change"). The 8-minute 'Dumb Disco Ideas' explores similar themes, with a dash of summer ennui thrown in for good measure ("Don't let that big idea go to waste now ... Put it off if it's for another day").

Thankfully, that's the only time Frankel comes close to sounding bored, and that's only from a lyrical standpoint. 'Changing of the Guard' finds him doing his best impression of Thomas Mars from Phoenix, and indeed, that song is reminiscent of one of the French electro-poppers's more direct tracks. 'Dance A Little Closer' is all about the interplay between bass, drums and percussion, the track imbued with an energetic swagger that doesn't appear again until the shimmering keys of 'Bridge And Tunnel' allow the album to move up a gear after things hit somewhat of a lull with 'I Wanna Be Your Hand'.

It's something the record's able to recover from, though, and it's given a timely boost with the straightforward pop of 'Don't Look Down', before the surprisingly brief 'In the Red' and the incisive 'Cheap Shots' bring Dynamics to a close, showing that the duo's confidence is running high. With the all-important second album hurdle cleared, it'll be interesting to see what comes next from them.