It's said that there are over 37 million songs available right now on iTunes. With the average song generally being accepted as 3-4 minutes long that amounts to a running time of 148 million minutes, or about 280 odd years. It could therefore be argued that we really don't need any more music to be made. Or, it could be argued that with so much music to soundtrack the banalities and intricacies of life on this planet that whatever gets released now needs to be pretty special to stand out.

And yet artists still find themselves looking back and recycling the sounds and styles of decades past. This is nothing new. This practice is as old as the music industry itself and it's only natural for people to want to recreate the music they grew up with. Often, by doing this, artists discover new ways of performing and using newer technology and techniques to create something that couldn't have been produced originally. However, it also can result in artists creating work that is derivative.

Unfortunately Mercury, the debut album from duo Miracle, falls foul of that sin. Essentially a collection of 80s style power ballads, it arrives as something of a disappointment. This stems from the musical pedigree attached to this record. Miracle is formed of Steve Moore, half of synth band Zombi, and Daniel O'Sullivan, one half of Grumbling Fur (who earlier this year released one of this year's finest albums in the form of Glynnaestra). The two met whilst touring and began work on what was to be an instrumental dance project. Eventually O'Sullivan decided to add lyrics and vocals to the songs - turning them into more anthemic pop songs.

Like most anthemic pop the lyrics tend towards obtuse statements, empty phrases that mean little such as "you're walking through fire, fall into the night." It's certainly an authentic recreation of songs from the 80s, particularly the sort of hits that would soundtrack Hollywood flicks, but it's perhaps an era of music most of us would prefer to forget. It also doesn't help that the music, arriving as it does in a year when 80s style synth-pop is such a heavy influence on the chart, seems to offer nothing new to the genre and in fact feels rather uninspired when compared to some of this year's stronger releases.

Opening track 'Good Love' sounds like an overplayed radio hit on the very first listen and by the third track 'Automatic and Visible' - its title sung in a mock-whisper as a repetitive chant - you'll most likely find yourself suffering from 80s fatigue. The synth sounds on this record are almost identical to the ones featured on other releases from the last few years and as such there is nothing that stands out or creates some form of deeper resonance.

The music isn't necessarily bad, but as a style it feels so wrung out already that you begin to wonder why you should even devote just a small amount of your time to listening to it. Especially when you consider that in the time it has taken you to read this review, you could have downloaded and indeed started playing classic synth-pop records by the likes of Erasure, Pet Shop Boys, Gary Numan and more.