Let’s just get one thing out of the way. Disco is one of the finest forms of pop music. I don’t even want to hear an argument otherwise. But it gets a bad rap. The old ‘disco sucks’ chant still rings in the ears after all these years.

(Cue excuse to repost my own recent disco mix that begins with the ‘disco sucks’ chant https://soundcloud.com/mondopop/disco-demolition)

It’s light. It lacks depth. It’s silly. It’s throwaway. It’s too female, it’s too gay. It’s not the ‘real’ music of boys with guitars (thanks Men on the Internet for your views).

Obviously, this is a view of such reductive idiocy, it’s barely worth debating. if you can’t find the genius in a Roisin Murphy or a Robyn album, then maybe you don’t even like music. If you aren’t moved by ‘I Feel Love’, then maybe you don’t even have a pulse.

Actually, that’s what I like most in a disco track: emotion. Not just to want to dance, but to feel *moved*. And boy, is there plenty of that on this latest offering from our Jessie. Spoiler alert: I ABSOLUTELY FUCKING LOVE THIS ALBUM.

I loved Jessie Ware’s first album, Devotion, which cut a classy nu-soul vibe that felt like a Sade throwback. But I lost my way with her a little, and found her second and third a bit lacklustre, and treading the same path.

I chose this album without hearing it for the AOTM on the back of some really stellar reviews, and from Gay Twitter (or at least, Gay Twitter that I follow anyway…) losing their shit on how good it is.

They weren’t wrong. This is a major reboot which finds Jessie W rejuvenated and raring to go. Working with former Simian Mobile Disco stalwart James Ford, they mine the musical past in search of nuggets, and they nearly always come up with gold.

The most obvious influence is Italo-Disco and House of the 80s (and I LOVE that shit). The title track could be a lost classic. But it’s enormous fun hearing all the influences that went into the melting pot of this record. Opener Spotlight is a smooth opener that could easily be late Kylie. Ooh La La is total Nile Rodgers-era Duran Duran. Soul Control and Read My Lips are 80s soul-disco in a Gwen Guthrie ‘Ain’t Nothin’ Goin’ On But The Rent’ style.

And then the other obvious shadow on this album. No, not Roisin, it’s not as left field as that: I’m talking about Robyn. And I’m thinking specifically about her last album, Honey (a former AOTM wasn’t it?). Check out Save A Kiss – it could easily sit on that record:

The big questions is – do all these influences turn into something new? Does it feel as fresh and as contemporary as Robyn manages to sound? Honestly – well maybe not quite. It’s certainly lyrically pretty obvious and at times quite trite, which fits the vibe but doesn’t offer that emotional connection that Robyn so often does in her work.

But it doesn’t feel like a throwback record either. I was thinking of Daft Punk’s behemoth, Random Access Memory. Having deconstructed disco and funk in their early work, that album felt more like a more simple homage. I know it divided critics but I LOVE it. This album reminds me of that a little, in that it feels like a love letter to that music, while being very much its own universe.

Of course, the real test will be – will I stick this on at a party? And will I still be listening to it in a year? I don’t know yet, but I’d take a guess that I will be.

What’s Your Pleasure? Mine’s certainly this album.