“I’m feeling alive again, alive again,” vocalist Alison Goldfrapp croons breathily on the third track of “Head First,” summing up the album’s vivacious spirit. British duo Goldfrapp’s fifth release, “Head First” is an infectiously bubbly, feel-good 1980s disco-pop infused production. Alison Goldfrapp and producer Will Gregory have experimented with various styles throughout the past 10 years, shifting from ambient electronic pop on their debut “Felt Mountain,” to darker sounds in later albums “Black Cherry” and “Supernature,” and finally to a much mellower, delicate folk-pop in 2007’s “Seventh Tree.” “Head First” is a reawakening, taking Goldfrapp’s energy level to a completely new height and giving them a dance-floor appeal that was absent from “Seventh Tree.” While the new album presents an array of lively, stylized dance hits whose catchy choruses, steady beats, and glittery synths offer instant gratification, the album as a whole is a surprisingly uninventive step backward for a duo that has always been eager to break new ground.

As is readily apparent from the beginning of the album, with its warm and fuzzy opening track “Rocket,” the mysterious, seductive quality that originally set Goldfrapp’s sound apart is nowhere to be found on “Head First.” As Alison sings, “Danger, heartache, something has died,” the musical accompaniment is awkwardly lighthearted. The track is instantly likeable, however, having just the right amount of superficiality to be perfect for dancing and a simple, cheesy, and delightfully repetitive chorus.

In targeting everything enjoyable and addictive about the pop music of the 1980s, Goldfrapp certainly hits the nail on the head. “Head First” is an incredibly cohesive album, evoking the whole era in all of its glory. With touches of ABBA, Pat Benatar, Diana Ross, and even Depeche Mode, it’s overwhelmingly nostalgic. On the surface, the enthusiastic and enticing sound of “Head First” gives it an immediate accessibility that Goldfrapp desperately needed to re-launch themselves into the electro-dance-pop arena. On the other hand, it also continually begs the question, “Haven’t I heard this before?”

Although a good portion of “Head First” radiates happiness, there are a few darker moments that hearken back to the duo’s earlier style. However, Goldfrapp doesn’t quite pull it off like they did with their sultry 2003 hit single “Strict Machine.” “Shiny and Warm” comes close, with a pulsating rhythm that compliments Alison’s eerily beautiful vocals, but the mindless lyrics undercut the song’s efforts. “Hunt” also falls just short. The ethereal synths over which Alison’s consistently strong vocals seem to float would be absolutely mind-blowing if paired with more creative lyrics, but instead, the dull and irritatingly repetitive chorus drags the song down.

Closer “Voicething” stands in sharp contrast with the rest of the album as the only true reference to Goldfrapp’s highly experimental roots, but with five minutes of abstract, wordless vocals and strange sounds, it’s a nauseating experience. While this song may be far more experimental than the other, rather uninventive tracks, its experimentation is misdirected and fails to be enjoyable.

While the music on “Head First” is always fun and energetic, it inevitably sounds like it’s been done before, and the lyrics, though catchy, are often sometimes just a little too mindless, failing to do justice to Alison’s incredible vocals. While “Head First” may not be Goldfrapp’s most innovative or exciting production yet, it’s a near perfect soundtrack for a retro dance party. After Goldfrapp’s sudden detour into a downtempo, folksy, ambient haze on their last album, the ever-changing duo have come back to life. It’s just a little disappointing that this new life is so fervently fixed in the past.