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“Meet me at the disco-go-go-go…” beckons Kylie on her 17th album, Tension II. Although she has said that these 13 songs are largely leftovers from last year’s Tensionthere is no loss of quality as pop’s flirtiest little glitter fairy continues to delight the dance floor. In fact, this is one of those moments where the sequel occasionally surpasses the original: Tension II feels bolder, tougher and more inventive than its predecessor, while still coming straight from the same fun and vibrant atmosphere. Kylie sounds like a woman who has only appeared at the party a few times, who has taken complete control of her spot in the middle of the dance floor and pulls a dizzying guest list of producers and duet partners from their seats to put it in her spotlight.

Next year Minogue will be touring for the first time since 2019, so we shouldn’t be surprised if we hear her build up to a boogie. Tension II opens with a banger of a show opener: “Lights Camera, Action” emerges from an anticipatory little synth riff as the 56-year-old teases, “I’m around the corner now / I’m two seconds away / Hold on tight, I’m standing on the about to arrive…” Her shimmering voice is completely assured as she offers a soundtrack for anyone getting dressed for a night out: “I look fantastic tonight/ My armor is from Gaultier… it’s our turn Sinful this evening.”

Interviewed by NME last month, Minogue named the song “Taboo” as one of her favorites on this record, describing it as a “distant cousin to Britney Spears’ ‘Toxic.’” Retro-disco strings rise from a recessed spot in the mix (like those on Madonna’s “Hung Up”) to carry the drama. Violins that could have come out (shirtless and with platform shoes) from an early 1980s Boney M recording session float and fly through an EDM pulse as Minogue breathes, “One.” drink? I know I shouldn’t, but I can’t help it… un, deux, trois.’

The woman whose 1900s renaissance was fueled by a song that simply had her pouting “laaa-laa-laa” (“Can’t Get You Out of My Head,” 2001) rebooted herself for a whole new generation with more nonsensical syllables at the end. ‘Padam Padam’ of the year – she continues the trick here. Her love is not just ‘taboo’, but ‘Taboo-do-doo, do-dooo’. Nobody blows better. Through a synth hook that could have been the theme tune to a late 1970s cop show, ‘Diamond’ sees her pay tribute to a lover who is a ‘star-ah-ah-ah, wherever you are-ah-ah-ah – Ah”. Meanwhile, “Good as Gone” bounces to a beat as hard as a squash ball; “Someone for Me” toys with an Ibiza vibe; “Dance to the Music” shows off a Dua Lipa-style bassline .

Things slow down a bit on the ninth track, where Minogue delivers a wonderfully heartbroken slow dance with “Shoulda Left Ya.” You can practically hear the wind machine blowing through her curls as she laments, “Every time I hear the music, I’m back in the room.” But Tension II takes off again at the end with a series of collabs that come out as a hi-energy encore. There’s the thumping ’90s house of “Edge of Saturday Night” (featuring The Blessed Madonna); the more forgettable “My Oh My” (with Bebe Rexha and Tove Lo) and the castanets-speckled cowboy camp on “Midnight Ride” (with Orville Peck and Diplo) where Peck’s rich baritone provides great contrast.

She closes the album with ‘Dance Alone’ (with Sia). The two Australian pop queens – both survivors in different ways – dive into a pool of experimentally shaky vocoders before throwing themselves into a quarter shape under the mirror ball: “I’m not scared / I know everything will be fine / There’s nothing you can say. ” Minogue sounds incredibly cool and confident – ​​wonderful in her natural habitat of sequins and flash. Tension 2025 should be a blast of a tour.