• Sometimes, all style and no substance isn’t such a bad thing.

Pop Levi’s 2007 effort, The Return to Form Black Magick Party, was everything a pop album should be. Balancing infectiously sugar-coated rockers, hypnotic acid-blues dirges, it came across like T. Rex on a sugar high, minus the mysticism. Inexplicably, no one listened to it, and the album remained frustratingly under the radar. If there’s any justice, Never Never Love won’t suffer the same fate.

“Wannamamma” opens the album with energetic aplomb. Buzzing bass and relentlessly chipper drums provide a perfect backing to Levi’s nasal vocals, and though the lyrics are minimal to the point of nonsense, that’s not really the point. As his name implies, Levi is all about the pop — the style here is so slick and infectious that substance would only drag it down.

Strong as the opening is, the album hits that mark several times over. The title track is all stuttering drums and R&B swagger — again, it’s not going to pierce your soul, but it’ll make you strut. “Dita Dimoné” is ostensibly about a girl, but it’s more an ode to girls-and-cars pop tunes than anything else. And that’s only the opening trifecta. “Fire on Your Feet,” “Oh God (What Can I Do?)” and the Elton John-ish “Calling Me Down” all hit similar heights.

Never Never Love’s slower moments don’t fare as well as Magick’s, though. “Semi-Babe” and “Mai’s Space” have the hooks to make up for their cheesy production and processed vocals, but only just. “Everything and Finally” is a little too faceless, and “Call the Operator” is just plain aimless.

It’s hard to fault the album for a lack of concision when only one song cracks the four-minute mark. The peaks are high enough that the few plateaus are easy to ignore. Still, with a few cuts, Never Never Love could have been a flawless half-hour of pop instead of a highly consistent 45 minutes.