The bass is banging, guitars are shrieking, and Lenny Kravitz is howling on “Blue Electric Light,” the rocker’s best stuff in years, offering a welcome blast of funk in 2024.

There’s joy and swagger in almost every track, with Kravitz showing his knack for adding special touches to songs — a blistering guitar part here, a sax solo there or a touch of Wurlitzer. Bongos? Sure. A talk box? Whatever, baby.

It all kicks off with a lush, arena-ready trademark Kravitz rocker in “It’s Just Another Fine Day (In This Universe of Love),” and then he channels the late Prince in the addictive “TK421,” which sounds like it could have been on “Purple Rain.”

What is “TK421”? It’s in the movie “Boogie Nights” as a term for a stereo upgrade and in “Star Wars” as the designation for a Stormtrooper. In Kravitz’s risque video for the song, he strongly implies that TK421 is his, ahem, personal stormtrooper. Whatever it is, you’ll have a hard time finding a more pleasing song this summer.

“Honey” is a sweet seduction ballad, and “Paralyzed” sees Kravitz thrillingly go full ’80s heavy metal, while “Let It Ride” is another hat-tip to Prince, with Kravitz pulling out a Moog and some Rolands for a synth-laden reverie, making his voice almost menacing in the computer blue.

“Bundle of Joy” sounds initially like it must be about a baby, but Kravitz is back in the bedroom, admiring a lover’s “savoir-faire to her silky thighs.” He quivers with passion in the soulful “Stuck in the Middle,” and “Human” has terrific percussions and a Depeche Mode vibe.

He gets some scolding in on our social divisions on “Love Is My Religion,” a foot-stomper with hot piano and the lyrics: “Warring and shaking our planet is baking in front of your nose/ And the conclusion’s coming fast, so stay on your toes.” Kravitz channels Rick James for another funky plea for us to get along in “Heaven.”

The album ends with the title track, which fittingly sounds like it should play over the end credits of a high-octane movie franchise with futuristic robots and slinky models. “I just want to make love/ Under blue electric light,” he sings. We are putty in his hands. — Mark Kennedy, Associated Press

Once upon a time, on Pet Shop Boys’ first single, “West End Girls,” vocalist Neil Tennant sang the lines “We’ve got no future/ We’ve got no past/ Here today, built to last.”

Fifteen studio records later, there possibly isn’t a better verse that captures the timelessness of the stone- faced British pop duo that appears to, indeed, be built to last.

Known for their synthesizer- backed dance tracks with emotionally resonant lyrics, Tennant and keyboardist Chris Lowe created their own style of electric pop — influenced by glam rock and disco — that has stood the test of time with consistent releases over the years. Their latest album, “Nonetheless,” falls right in line with the pattern.

Tennant’s simple vocals tell stories of loneliness, longing and love, elevated by bumping electronic beats and orchestral harmonies in this bittersweet masterpiece. Lowe’s synth skills bring each track to life, as always, and the dichotomy between heart-wrenching lyrics and dance-inducing instrumentals is a poignant reflection of human emotion.

The catchy “Why Am I Dancing?” is a perfect example. Head-bopping beats and triumphant trumpets and strings accompany the lyrics “Why am I dancing when I’m so alone?/ Maybe I can celebrate on my own.”

Nostalgia for another time and place seeps throughout the album. Tennant reflects on starting out on his own in “New London Boy,” and he yearns for a feeling just out of reach in “A New Bohemia.”

“The Secret of Happiness” feels like falling in love in an old Hollywood movie with a sweeping orchestral arrangement, while the final track, “Love Is the Law,” takes a more ominous turn with its lyrics: “It waits and watches/ Weaves and dodges/ Catch it like a cold/ No one is immune.”

Packed with gems, “Nonetheless” is sure to delight old and new fans and shows that the duo isn’t slowing down any time soon. — Kiana Doyle, Associated Press