White Women is the fourth studio album by Canadian electro-funk duo Chromeo, released on May 12, 2014, by Last Gang Records.

The album features contributions from Vampire Weekend's Ezra Koenig, Toro y Moi, Solange Knowles, LCD Soundsystem's Pat Mahoney, and Fool's Gold duo Oliver.

[3] Macklovitch stated that the duo aimed to "take it back to the real careless dance party vibes", in contrast to their previous album, Business Casual (2010), which he said was "a little more serious and moody".

[6] Chromeo had previously collaborated with Koenig on the song "I Could Be Wrong", a bonus track from the duo's third studio album, Business Casual.

"[6] Chromeo unveiled the cover art and release date for the album via a missed connections ad on Craigslist on February 14, 2014.

[24][25] The album's fifth single, "Old 45's", was released on January 16, 2015;[26] the music video, directed by Dugan O'Neal and featuring appearances from Haim and Jon Heder, debuted on September 30, 2014.

"[34] David Jeffries of AllMusic dubbed the album "an equally titillating, prose-free, and '80s-embracing effort" and described it as "fun, frivolous, and floor-filling stuff where that slick '80s flair is gloriously bolstered by that modern dancefloor punch.

"[43] Rolling Stone's Nick Murray expressed that the duo's "disco revival isn't quite as cheeky as similar efforts from, say, Duck Sauce [...] but songs like 'Sexy Socialite' are clearly meant as clever fun all the same.

"[40] Benjamin Boles of Now stated that "the novelty disco elements are balanced by enough rock-solid grooves that the cheesier moments don't stink up the whole thing.

"[37] The Guardian's Lanre Bakare observed that "there are more sophisticated elements at play" on the album, but felt that "[t]he comedy lyrics and tongue-in-cheek delivery mask the fact that behind the japes there are some brilliant songwriting chops.

"[35] In a negative review, Leonie Cooper of NME found the album to be "so dripping with awkward, wink-wink irony that it's utterly impossible to appreciate the Hall & Oates style synth pop that underpins the yacht rocking groove of 'Old 45s'", and concluded, "Even a run of solid guest stars [...] can't pump any passion into this flaccid cringe-fest.

[45] In the United States, it debuted at number 11 on the Billboard 200 with first-week sales of 16,000 copies,[46] earning the duo their highest-peaking album on the chart to date.