William Orbit produces, Guy Chambers helps out, Mike Batt hovers.
English pop not in the tradition of the Beatles, Kinks and Blur but of Lloyd Webber, Queen and Robbie Williams: elaborate, operatic, camp, eggy – showbiz, basically.
It's an impressive effort in the way that musical theatre can be impressive. Melua's writing is as playfully, sincerely adolescent as ever, while Orbit's sound is transparent and huge: electronic, acoustic and orchestral. The House feels as if it should come with a glossy programme for your lap.