Mikayla Geier brings peak disco energy to her sophomore album “HOT POT!” which released Wednesday, seamlessly mixing metaphors and references both retro and ultramodern.

The album is reflective of the current trend of pop music that doesn’t take itself too seriously, reminiscent of Sabrina Carpenter, as Geier explores themes of self-confidence and romantic love. While some parallels can be drawn to other pop divas, Geier puts her own unique spin on the silly fad.

She begins with an intro that sounds like an engine revving up, and it isn’t long before the opening track, “pearl of glue,” soon accelerates with an instant burst of energy. Her high-pitched backing vocals bring depth and dimension, creating a sound that seems to surround the listener.

Her intonation adds a touch of sassiness that brings pop idol Chappell Roan to mind. But as she progresses into the chorus, which suddenly sounds more reminiscent of “Funkytown” by Lipps Inc., it becomes clear that this is not a traditional pop album. Suddenly, Geier is singing at a ’70s disco.

Dancing straight into “diva,” the upbeat and joyful track’s high-pitched verses sound something like the Bee Gees. Her spoken word pre-chorus is the first of many on the album, which, though a repetitive choice, serves to break up the beat and allow the song to build back up, rather than charge on at an unrelenting speed. The final electric guitar solo is a nice touch, adding a bit of much-needed edge to the song.

She also brings a certain tongue-in-cheek attitude to “dirty shirley” that keeps the album feeling fresh, flirty and exciting. Even without knowing that the visuals for this song seem to take inspiration from spandex workout videos, it sounds exactly like them. It’s the kind of song that will put pep in your step.

“ego of a man” switches up a bit from the cohesiveness of the first few tracks. The piano intro and the groovy verses create a welcome distinction, but the chorus becomes a little overwhelming, with Geier singing a little too fast to be understood. The song would have benefitted from more editing, with too much going on at once and its various parts not working in synchrony.

Similarly, “no thoughts” falls flat compared to the strong start of the album. The track is more lyrically heavy, rather than melody-focused like the previous songs, but it has the most melancholy words: metaphors about putting on a backpack full of bricks, trying to swim through honey, having a marble in her throat, and, grossest of them all, having a wet pillowcase.

While the sensory aspect of the lyrics has the desired effect, the song lacks a definitive hook and feels disconnected from the rest of the album.

Thankfully, “shimmy shake” brings the beat up again and guides the listener back to the disco dance floor. In direct contrast to the previous track, the nonsensical lyrics, “I’m drumming with some Pixy Stix, I heard that sugar’s in / F-U energy is all that I can bring,” are much more fun.

Finally, she comes to the standout of the album, “piano in the sky.” Though her previous songs lay the groundwork, “piano in the sky” exemplifies Geier’s brand of disco pop with the album’s most interesting and complex melody.

The song is bright, shiny and dancey, and the lyrics tell a relatable story about trying and failing to find “the one,” as she sings that she is “more likely to find a piano in the sky” than she is to find the perfect person for her.

The chorus moves up and down the scale as if Geier were running around in circles searching for her soulmate. This should have been the last song on the album, tying together the ’70s and the 2020s in a perfect bow. Unfortunately, it’s not.

“ring pop” is track number eight in many ways: It is the last song on the album; it begins with an eight count in; and also, it is the least interesting track. Perhaps it may be considered as good as the rest of the album, if it weren’t following the best song, but in comparison, it is simply not quite as interesting lyrically or melodically and not a very strong note to end on.

The lyrics “You’re my ring pop, sweet stop, everything I wanted” are just as flirty as that of the other tracks, but they lack the same silly storytelling quality. It’s the simplest love song on the album, and as such Geier’s signature sass that gives the other tracks their edge is missing.

Overall, “HOT POT” is a joy — dynamic, funky and cheeky. Though there were a few tracks where she couldn’t strike the delicate balance between silly and incoherent, Geier’s joyful energy is consistent. The album welcomes listeners into her disco pop world with a wink and a smile.