Most songs off of Mika’s new album, “The Boy Who Knew Too Much,” could have been plucked directly from a musical; in fact, both of his albums, with their kitschy, infectious melodies and impressive vocals, could be described as show tunes for people who don’t listen to show tunes. The overdramatic, theatrical quality of Mika’s music renders it as appropriate for a Broadway stage as for a packed dance club or rowdy road trip sing-along.

Characteristic of Mika’s style, this degree of camp can be by turns appealing and irritating. Ever since the 2006 release of his first single, “Grace Kelly,” which catalyzed his rise to worldwide popularity, his unconventional and over-the-top approach has resulted in polarized opinions. However, the real problem with “The Boy Who Knew Too Much” is that, except for occasional moments of originality, it proves to be little more than a rehashed duplicate of his debut album, “Life in Cartoon Motion.”

“The Boy Who Knew Too Much” is stylistically almost identical to Mika’s first album, and, aside from a thematic progression from lyrics exploring childhood to those focusing on teenage years, the songs on each album are essentially interchangeable. Mika’s method of addressing his confidant, the title character in “Dr. John,” echoes his pleas to the troubled protagonist of “Billy Brown” on “Life in Cartoon Motion.” The album’s third track, “Rain,” likewise imitates a predecessor, featuring bouncy beats building up tension for a sudden, anthemic chorus in a manner forcefully reminiscent of the first album’s “Relax (Take it Easy).” In an interview with BBC, Mika himself acknowledged this large degree of similarity between the two albums by referring to “The Boy Who Knew Too Much” as “kind of a part two” to his debut album. However, Mika’s new record overlaps with its predecessor rather than acting as its sequel.

Despite this lack of originality, “The Boy Who Knew Too Much” is still an incredibly fun listen. Effervescent Europop beats and vocals are juxtaposed with darker themes as Mika explores his teenage years, creating a contrast that is engaging and effective.

The album opens with two attention grabbing, upbeat tracks—also the album’s first two singles. On “We Are Golden,” Mika reinvigorates the stale theme of teen angst by pairing it with sugary pop beats, his signature falsetto, and a playfully defiant attitude expressed in lyrics such as “I live for glitter, not you.” With “Blame It on the Girls,” Mika delivers repeatable rhymes such as “he’s got looks that books take pages to tell” and “you could have children and a wife, a perfect little life,” which make the song’s even cheesier aspects, such as the sound of a cork popping open at the mention of a bottle of wine, more bearable.

The persistently fast-paced songs, littered with disco beats and captivating choruses, continue until “I See You.” While a respite from the relentless pace of the first half of the album, this slower track proves to be trite and unoriginal. Its cloyingly romantic lyrics verge dangerously towards the cliché: “you mean the world to me but you’ll never know.” Mika’s ability to craft a slow song that does not rely on catchy choruses is much better showcased in “By The Time,” a collaboration with Grammy-nominated English singer Imogen Heap and the album’s true standout. Heap’s ethereal vocals blend beautifully with Mika’s falsetto to lend a hypnotizing effect to the one track that sets “The Boy Who Knew Too Much” apart from “Life in Cartoon Motion.”

The overall effect of Mika’s new album is a conflicting one. On the one hand, he is a master of getting listeners to sing along before they have even finished hearing a song; on the other, he subjects his audience to irritating gimmicks such as Backstreet Boys-esque echoing vocals in “Touches You,” a barbershop quartet in “Toy Boy,” and a burst of strings evocative of a Disney movie on the cabaret-style closing track “Pick Up Off the Floor.”

Ultimately, “The Boy Who Knew Too Much” provides the same quirky good time that entertained fans of “Life in Cartoon Motion.” Some of the similarities between the two albums, such as their psychedelically eclectic album art, are conducive to Mika’s intended portrayal of “The Boy Who Knew Too Much” as a sequel to his debut album. However, the coincidence between the two is excessive, and those hoping for a new edge to Mika’s style in his sophomore effort will be left disappointed.