Kylie Minogue, “Tension II.”

Kylie Minogue originally conceived thought of her new album as an expanded edition of 2023’s Tension. At first listen, Tension II seems to be riding on its predecessor’s coattails. But while Tension II rides on that album’s coattails, these nine previously unreleased tracks and four older collaborations show she’s still capable of producing quality dance music.

Opener “Lights Camera Action” strays a bit from Minogue’s signature electro-pop dance sounds. With modern dance elements guiding the overall vibe, it sounds more like the newer artists who listened to her music growing up.

The Abba-esque flow and four-on-the-floor beat of “Taboo” recalls the iconic Swedish group’s “Gimme! Gimme! Gimme! (A Man After Midnight),” while Minogue’s vocal delivery is reminiscent of her early 2000s sound, particularly on 2001’s Fever.

Several other songs like “Someone For Me” offer a retro 1990s feel, while Kylie Minogue visits other past decades on “Hello,” that sounds an awful lot like Jennifer Lopez’s “On the Floor;” and “Kiss Bang Bang,” relies on Auto-Tune without pulling you out of the song.

“Good as Gone” is the album’s strongest song. The disco dance beat is infectious, and Minogue’s vocals are confident, as she sings several lines a capella.

“Love the way I look ripped out of your arms/ Who would think that losing you would be so much fun?/ It feels so good, feels so good as/ Gone, gone, love the way you’re gone,” she sings, nailing every note.

The strength of “Diamonds” lies in its arrangement, relying more on pop than electronica. The melody seems to be channeling part of Christopher Cross’ “Ride Like the Wind,” while the bridge is a blatant nod to Lady Gaga’s “Bad Romance.” “Dance to the Music” sounds like a cross between electro-pop and disco, with robotic backing vocals a la Daft Punk. It could’ve drifted further into retro disco and funk territory, but Minogue’s vocals keep the song grounded in the present.

Her singing on “Shoulda Left Ya” appears to channel Lorde on “Royals.” Here, she sounds the most serious, stepping away from dance and into anthem balladry.

The album concludes with four previously released collaborations. “Edge of Saturday Night” with The Blessed Madonna begins with an ’80s beat complemented by piano and strong singing. The Blessed Madonna original wrote the song for British singer Raye, but Minogue seems out of place on it.

The flirtatious “My Oh My” finds Minogue singing with Bebe Rexha and Tove Lo. At first listen, it’s difficult to distinguish between the three, but the verses make it clear: “When you asked ‘What’s your name? What’s your sign?’/I’m Kylie, it’s Gemini.” All sing similar verses, introducing themselves to a potential lover. The downside is that Minogue is unnecessarily hiding behind modulated vocals.

The countrified “Midnight Ride” originally appeared on Orville Peck’s Stampede. Minogue provides high backing vocals and a breathy second verse. The duo’s vocals blend perfectly and it’s the strongest of the collaborations.

Sia collab “Dance Alone” concludes the album. Minogue successfully mimics Sia’s vocal style but also gives the song an added flair. This duo has worked together once before, on Minogue’s 2014 album, Kiss Me Once, so there’s a clear connection here.

II sometimes plays out like an offspring of Tension single “Padam Padam.” There’s a lot of unnecessary idea rehashing going on. But it’s energetic and fun.

Follow Talia M. Wilson at Twitter.com/olyfilmgirl.