It's 1994. Brandon Flowers is 13. He faces a tough choice: with enough money to buy just one album, it's either The Smiths or The Pet Shop Boys. Never mind that other kids his age are into Nirvana and Tool.

He opts for the record by Neil Tennant and Chris Lowe and is introduced to "a new world of beats and sophistication". 'Being Boring' ("I never dreamt that I would get to be/ The creature that I always meant to be") tells him it's OK to be different.

It's 2009. Brandon Flowers is the frontman of The Killers. He's presenting the Brits Outstanding Contribution Award — usually a "thanks for coming" prize to pensioners already on their way out. But, although the recipients are balding (Lowe) and greying (Tennant), they're sticking around, thanks for asking.

Not since the '80s have they been so in vogue. Not just with Flowers, whose 'Human' was a conscious Pet Shop Ripoff. Their ironic disco-synth is all over the charts courtesy Lady Gaga. And now the Boys want in on the action.

So here's 'Yes'. After the serious, consciously retro approach of last outing 'Fundamental', their 10th album in 23 years is a concerted charge on the top 10. Why else would the duo team up with Xenomania, the production and songwriting team behind pop tartlets Girls Aloud.

Certainly, Tennant's lyrics are still preoccupied with personal rights ("Protection/ Prevention/ Detection/ Detention" he intones on 'Building A Wall') and his clipped, deadpan delivery remains unmistakable, but the songs themselves are now sleek, slinky — even sexy.

'Love Etc.' swings more than even 'Go West'; 'Did You See Me Coming' is positively bouncy; 'Pandemonium', big on synth brass, '80s bleeps and banging beats almost lives up to its name; the icy yet intimate 'The Way It Used To Be' is a masterclass in electropop; and the orchestral 'Beautiful People', with Johnny Marr on guitar and harmonica, is quite simply the epitome of cool.

Of course there's no holding back the inevitable bombast forever: built around a Tchaikovsky sample 'All Over The World' is decidedly overblown, while 'Legacy' breaks out into a French waltz. Not exactly ones for the kids but, fuddy-duddy moments aside, 'Yes' finds the Pet Shop Boys in fierce form. The "new world of beats and sophistication" remains.