Kylie Minogue, Tension II review: Bold, harder and more imaginative than its party predecessor

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“Meet me at the disco-go-go-go…” beckons Kylie on her 17th album. Tension II. Although she did say that these 13 tracks are mostly leftovers from last year TensionThere’s no loss of quality as pop’s flirtiest little glitter fairy continues to bring joy to 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 imaginative than its predecessor, but still exudes the same fun and sparkling vibe. Kylie sounds like a woman who completely takes her place in the middle of the dance floor just before the party begins, ushering a boisterous guest list of producers and duet partners from their seats to put her in the spotlight.

Next year Minogue will be touring for the first time since 2019, so we shouldn’t be surprised if she builds up to a boogie. Tension II begins with a banger of a show opener: “Lights Camera, Action” springs from an expectant little synth riff as the 56-year-old teases, “I’m right around the corner/I’m two seconds away/Hold on tight, I am right there…” Her shimmering voice is utterly assured as she provides a soundtrack to anyone getting dressed for a big night out: “I look great tonight / My armor is by Gaultier…we’re turning sinful tonight.” .”

Interviewed by NME Last month, Minogue chose the song “Taboo” as one of her favorites from the record, describing it as a “distant cousin to Britney Spears’ ‘Toxic’.” Retro disco strings rise from a submerged spot in the mix (like those on Madonna’s “Hung Up”) to carry the drama. Violins that could have stepped in (shirtless and in platform shoes) from an early ’80s Boney M recording session float and sway through an EDM pulse as Minogue breathes: “A drink? I know I shouldn’t do it, but I just can’t help it… un, deux, trois.”

The woman whose renaissance in the 2000s was fueled by a song where she simply pouted “laaa-laa-laa” (“Can’t Get You Out of My Head,” 2001) launched herself into a whole new one Generation with more nonsense syllables at the end new “Padam Padam” of the year – they continue the trick here. Their love is not just “taboo” but “taboo-do-doo, do-dooo.” Nobody is more blasé. Over a synthesizer hook that could have been the theme song to a late-’70s police show, in “Diamond” she pays tribute to a lover who’s a “star-ah-ah-ah, no matter where you are-ah-ah-.” . Ah.” Meanwhile, “Good as Gone” bounces off a punch as hard as a squash ball; “Someone for Me” plays with an Ibizan flair; “Dance to the Music” features a Dua Lipa-style bass line.

Things are a little slower in the ninth track, in which Minogue does a wonderfully heartbreaking slow dance with “Shoulda Left Ya”. You can practically hear the wind machine blowing her curls as she laments, “Every time I hear the music, I’m back in the room.” But Tension II Things pick up again at the end with a series of collaborations that seem like an energetic encore. There’s the thumping ’90s sound of “Edge of Saturday Night” (featuring The Blessed Madonna); the more memorable “My Oh My” (featuring Bebe Rexha and Tove Lo) and the castanets-flecked cowboy camp of “Midnight Ride” (featuring Orville Peck and Diplo), where Peck’s rich baritone provides a great contrast.

She closes the album with “Dance Alone” (featuring Sia). The two Australian pop queens – both survivors in different ways – dive into a pool of experimentally bizarre vocoders before diving into some 4/4 shapes under the mirror ball: “I’m not afraid/I know I’m fine.” will go/ there’s nothing you can say.” Minogue sounds incredibly cool and confident – happy in her natural habitat of sequins and flashes. Tension 2025 should be a great tour.