With a sudden synth stab there's an eruption of Technicolor energy and somehow the world's just feeling a much poppier place. Hot stepping into our lives from this psychedelic netherworld are LCMDF, two Helsinki sisters smouldering with more Smash Hits factor than Neneh Cherry's Top Trumps card and more giddy, skewed hooklines than an Ace of Base boxset that's been left out in the sun too long. At a time when the popsphere feels a cooler habitat than it has been in fifty years, this formidable twosome of Kemppainens - Emma (22) and Mia (20) - are here to remind people that while cool is fine an'ol, deranged fun is just the best.

Baggy beats and frazzled alt.pop pouts supercharged with fidgeting jump-up electronic energy is the modus operandi. It's been a year since their first release as LCMDF, 'Something Golden', was heralded with single-of-the-month-type round-ups everywhere from NME to the Guardian. Now as the curtains begin to draw on 2010, the girls in the baggy white shirts, denim hot-pants and Lennon shades are back, this time readying the release of their debut long player, 'Love and Nature', on the legendary Heavenly Records, a poignant acquisition for a label of such grand party pop heritage.

If a bell's ringing, it could well be that you recognise this duo as two thirds of 2008's gnarliest electro merchants Le Corps Mince De Francoise. But after a streamlining of both moniker and line-up, the bandit mask face-paint is no more and this time the vibeometer has been clicked firmly onto heady good-times. "We've come from hectic teenagers to laid back happiness," coos Emma. "We're not angry anymore, we're just, maybe, a little troubled..." There's an unabashed sense of colour and enjoyment to the girls new tunes, but that's not to say they've lost their bite. It's scissor-kicking in high-top sneakers scenarios, with choruses drenched in Electric Kool Aid and beats that boom like some hulking silver box is slung over your shoulder. Towing the Noughties cred-pop lineage instigated by the likes of Robyn, but with a sunny high-NRG that goes back a fair few years deeper; it's like Claire Danes in My So Called Life and Moesha had a joint 21st birthday party and invited MIA when she was still hanging out with Justine Frischman. "I think pop music is buzzing in a way that I cannot remember," says Mia. "From the mainstream to the clubs. We're not bothered about being one of the hipster bands anymore we just want to make people smile and sing our songs. We might have put a song buzzy single out on Kitsune, but I want our album to be something that will stay with people for a long time."

Lead single 'Gandhi' is something of a statement of intent. Its loopy buzz-saw guitars and lolloping beats trundle along with the hazy eyes of 'Second Coming' era Roses, until the girls' unmistakably gleeful, dizzy mantras pave way for the downright giddiest sing-a-long chorus about an iconic spiritual leader ever committed to wax. If LCMDF have a mission, it's one that seamlessly seems to bind together deranged limb flinging and surrealist catchphrasing, and is powered by a concoction of Valentines Day cards and jet fuel.

'Take Me To The Mountains' propulsive parps and squelches find a barmy middle ground in between booty-bass and Hanna-Barbera soundtracks. "It's an escapist song, I guess," ponders Mia. "It's about loving being in a band but wanting to escape all the bad bits and just have the fun of making music." It's another irresistible off-kilter chant of hookline, which sets our heroines amidst a jello mountain range with tub-thumping beat-downs and warp-speed disco cowbells.

'Future Me' transports you back to a time, say 16 years ago, when it felt like more Scandinavian chaps were making reggae music than Jamaicans, to glorious, insane popsequences. It's kids playing spin-the-bottle in the playground while a gang jeers the main refrain of 'All That She Wants' in spooked tones in the background, with maybe Jem and Alisha's Attic waiting suspiciously at the gates.

'Cool And Bored' has castanets, yup, it has Brimful of Asha strums, and a scatty hollering chorus that sounds like Plastic Bertrand doing an impression of Nicky Minaj. "It feels a more powerful thing to be saying you're in a pop group these days," Says Emma. "People like MIA, La Roux Late Of The Pier and Metronomy, they kind of make it way easier for us because people are now more open to just writing pop music; good songs - maybe a bit weird songs. I think good, weird songs should be appreciated." How can anyone argue with logic like that.