Indie pop-rock duo The Ting Tings have returned—or better yet, have risen from the dead. With their second LP, Sounds from Nowheresville, which has skeletal representations of Katie White and Jules De Martino on the cover, the English musicians are noisier and more artsy now than their debut years before.

Sounds works like an old broken jukebox found in a dark alley: the music is sometimes menacing and conniving, and other times it’s haunting and soulful, all while maintaining a catchy beat, the kind of noise expected from a band whose latest attempts have been to get back to their street-art credibility. After touring for years, milking out over two million copies of their album while crossing the globe with their groove, the band has needed some time to get back to the world of writing music and getting down to the skeleton of it all.

“We didn't want to sound like everything else on the radio," Katie White told SPIN magazine, and she’s not kidding. The album is an overexcited child of a work, jumping around from genre to genre, sometimes slowly creeping, emotionally and mellow, before bouncing to singles that sound like sweet summer moments gone bad and violent with happy slaps.

It may come by as surprising to find that White, whose fans are so used to singing mostly against beating drums and fun guitars, has found time to breath in some heart and soul with “Day to Day” and “Help”, (and even added by more vocals this time around from De Martino), although, don’t be fooled when she comes out swinging with “Hang It Up” and “Soul Killing”. The songs skip around beyond the genres like phantoms crossing through walls, something the band attempted at and succeeded, swaying back and forth from indie rock to dance punk; with riffs and drums, all accompanied by the background noise of squeaky doors, church bells and children playing games in the streets, the album sticks to its anme as sounds from some who-knows-where far lost city collapsing to the sound of music.

One of the best songs on the album, “Guggenheim,” has White holding you by the headphones as she rants, “And after all that’s said and done/ I had to pick myself up and find myself at number one.” Moments like the LCD Soundsystem-sounding “Give it Back” and “Hit Me Down Sonny” prove the album is as directionless as a broken compass, but worth every second of this adventure, however The Ting Tings want to be everywhere, and while that’s not necessarily a bad thing, it could feel a bit awkward to have two songs feeling like two different bands.

Sounds is too short for any deeper exploration of where this album might have gone. At barely over half an hour, the album is a bundle of party playlist-inspired tracks while singing about their 80’s street-cred. But, with great relief, they haven’t lost sight of who they are by becoming the sweet dolls of the music industry and kept it real while avoiding fading into a genre.