KYLIE APHRODITE

So here are the deal folks. I know I’ve been BLOWING my page up about this chick for ages, and no one really cares or bothers with it all, yet I persist in posting every morsel of info released on Miss Kylie Minogue, heads and shoulders above any other love I have in the music realm. Why this sick unhealthy fascination you may ask? Let me tell you. Simply put, she is consistent and positive. All her music, every song, every lyric is a positive one. The theme is always love, and almost never is it about a broken heart. It’s always hooking up, getting it on, or dancing. That’s the only thing she's ever sung about.

A few years back she was diagnosed with breast cancer and dumped by her long term partner all in the same month, and what did she do? Release a new dance album (her 10th, not including 2 sets of greatest hits) and went on a "Vegas showgirls" themed world tour. She often speaks about how she wants to be seen and remembered as a positive influence in the pop music scene. I love gaga for her gothic theatrics, and I love Madonna for her eyebrow raising antics, but Kylie has always been content with making you happy.

This, her 11’Th album, is more of the same, only for the first time ever done to perfection. The only other thing I can think to compare this to is Madonna’s CONFESSIONS ON A DANCEFLOOR. However this album is soooooo much greater. Where CONFESSIONS had 50/50 ratio of good to bad songs, KYIE's ear for hummable, catchy songs is honed to a razor edge. There is not ONE misstep here. Not one skippable track. Every song, whether fast or mid tempo, is not only perfectly executed, but perfectly placed. Never before is the listening experience better than here, where every song ebbs and flows into the next. Even on "everything is beautiful" the closest thing to a "ballad" on the album, comes off as more of a remix of a Leona Lewis torcher than anything else. But what is perfected on every single song, the thing that sets this album apart from not only gaga, Madonna, or truly any other KYLIE album to date, is the euphoric moment each song reaches. That catchy hook in "just dance"? That "it" factor, is recreated here song for song. In fact, the stand out anthem here "get outta my way" has 2 choruses. I’m not a musical expert, but it's the first time I heard a song that got to the chorus, which I LOVED, then proceeded to continue to a completely different sounding chorus, equally as amazing.

ALL THE LOVERS = her lead single. The piano solo halfway though is killer, as is the big lush swell of a chorus that follows it.

GET OUTTA MY WAY = again with the double chorus, plus the lyrics are the most brazen she's ever sung.

PUT YOUR HANDS UP = very "old school" 90's night at the roxberry-ish. Who says that’s a bad thing?

CLOSER = my favorite track on the album. There is no beginning, middle and end here. It just kind of starts and quickly builds and builds relentlessly till it's time for the next track. It’s also the most sexual track on the album (Kylie fans will know this means borderline raunchy....just the way we like her)

EVERYTHING IS BEAUTIFUL = the "ballad" of the album, only sung at twice the speed it should be, and three times the techno tinkering. Fits perfectly with the nonstop dance vibe of the album. The lyrics are also a little bit more on the personal side.

APHRODITE = another stand out. Very marching band military hard and loud drum beats and pyrotechnics here.

ILLUSION = Very Madonna sounding, but of course KYLIE adds her own helium balloon voice to it

BETTER THAN TODAY = written with scissor sisters, this is basically an Elton john pop anthem with a little more disco flavor than even that queen would dare. Fast paced and jovial.

TOO MUCH/CUPID BOY/LOOKING FOR AN ANGEL = much like CONFESSIONS, these three all seem to run into each other. TOO MUCH doesn't even feature all that much in terms of lyrics (especially the chorus itself, which is mostly left instrumental) I think the song was left here more as a transitional piece than a standalone track.

CAN'T BEET THE FEELING = and she ends on a high note. Very high. It is as close to "can't get you outa my head" as you can get. 80's synth beats left and right, with a fast, catchy hook.