Lexytron delivers euphoric perfection on new album, "Something New"
With Something New, Lexytron pulls off the rare feat of making a record that feels both tongue-in-cheek and devastatingly honest, all while being irresistibly fun. The husband-and-wife duo of Lexy and Mike, now rooted in Tāmaki Makaurau (Auckland), prove once again that their chemistry extends far beyond their personal lives, it’s at the core of their creative partnership.
Following the genre-bending theatrics of Something Blue, this new album finds lead singer Lexy stepping into slightly more electronic territory, without losing the sharp pop-rock instincts or wittiness that have made her such a distinctive voice. For example, some of the singles such as “Elevator” and “Disco Jenny” served wonderfully to really reel you in, but when you get into the rest of the record, you can feel that sonic shift come through.
From the jump, the record thrives on its energy. The production, handled by the duo themselves and polished in London by Marco Meloni, is crisp and expansive. The beats pulse, the synths shimmer, and the choruses soar to euphoric heights, giving the listener that full-body rush you only get from music designed to be screamed along with in crowded rooms. There’s something delightfully theatrical about it all, not in a showy or overblown sense, but in the way Lexy commands attention with her vocals being front and center .
Lexy doesn’t shy away from painful truths, rather she leans into them, wielding humor as a shield and a sword. That duality, the ability to write with both bite and heart, gives the record an edge that keeps it from slipping into typical pop gloss. Even in its most euphoric moments, there’s an undercurrent of self-awareness, a wink that says, “Yes, this is fun, but it’s real, too.” As impressed as you will be on the instrumental end, the lyrics really grab you as well. Some major standouts on our end were “Every Little Thing” that paints a clear picture of a love story. Whereas, she really cranks up a slight “punk” heat with “Another Lover” and “Is It Because?” that’ll have you anthemically singing along with those high powered choruses!
The sound and style palette is eclectic yet focused, leaning more heavily into electronic textures than its predecessor but still rooted in an alternative pop foundation. The guitars (acoustic and electric) and synths dance around each other, creating a full-bodied backdrop for choruses that stick instantly. It’s the kind of music that lingers in your head long after the record ends. Putting on emphasis on the track listing is undeniably important too, so with the choice to add the atmospheric track of “Laughing From Above” at the end cap was a truly genius choice. It’s short at just about two and a half minutes, but it’s almost as if all the presented styles blended into one song to really wrap up your entire listening experience.
Her vocals are a revelation here considering they’re confident, theatrical, and undeniably present. The range she shows off is legendary! She has the rare ability to make every line feel like a punchline or a confession, often both at once. That vocal-forward approach, like on “Disco Jenny” or “Retro” is one of the album’s biggest strengths, letting her voice cut through the layered production like a spotlight in a darkened theater.
She set out to create something that builds on the foundation of the debut while moving into fresher territory, and they’ve done exactly that. It’s all the reason to give it a spin, so please, click those links to listen in and follow along.
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