Kylie Minogue: Disco Album Review


What a disco for a year without discotheque amid the many distortions of 2020. From Róisín Murphy to Jessie Ware to Dua Lipa and Lady Gaga, the musicians collectively longed for the unreachable dancefloor. Most of all this is quite good, and none of it requires advertising itself, all-caps with pay attention, as in Disco. Kylie Minogue’s idea of ​​”disco disco” is more than a little redundant: she has produced decades of stuff including many modern classics. She has recorded (excellent) tracks titled “Disco Down” and “Your Disco Need You”. Kylie claimed in a recent interview that she had never imagined the album as “a concept” – because her next words were about how she imagined the title? Disco From the beginning. But he built a home studio, immersed himself in deep erosions, flattened his production skills, and engineered for the first time, all to prevent the album from becoming a “tribute record”.

Whatever album she had imagined, the album she recorded was just that: a polyester-thin construction that sounds as if she only knew about the existence of disco during quarantine. While making the album, she redirected her producers to Earth, Wind and Fire YouTubes, whenever the record began to sound like “electro-pop” -i. Lyrics of the song such as Studio 54, “I’ll Survive,” The Electric Slide. Kylie works against her voice, trying to mold her singing into a dance-queen diva or taking herself into a gospel chorus. if Gold Kylie Larping sounded like country music, Disco It often feels like Kylie Larsing Dance – which shouldn’t happen. No one expresses the record’s essential stupidity better than Kylie herself: “There are Gramps on the dance floor. It pictures me of David Brent breaking his father’s tricks. “

Not bad, and if anything, Disco It could stand out more: to awaken the actual disco in all its frisson and desperation, rather than the later 40-year-old version, filled with kitsch and clip-art disco balls. The album has two modes, with a few exceptions: extremely tasty cruise-ship programming, and gouache rehashes. Kylie loads the weakest material – perhaps passable in a set, but deadly in an album, where there’s no club to leave. “Magic” has a fizzy, sparkly chorus, a little “Confined in Me” for the sinful melody of “Miss a Thing”, and “Real Groove” pulls Kylie’s voice into rubber and ricochetes it, but Nobody tracks. Go anywhere, and lose less than half your energy. “Monday Blues” does not bring the energy back as much as returning it, coating its spangles in flop sweat. There is a remake of a “celebration” that is a lawsuit-level dazzle, so studying it forgets to celebrate it.

Everything is not wasted by comparison. “Last Chance” is also an explicit tribute, this time to Donna Summer’s “Last Dance”, but this scenario has its own insistence, and while Kylie is not well-versed, she fills the role well. The album’s expected appeal-to-death song, “Where Does DJ Go?” Is ridiculous (where does the DJ go after the last call? Home, usually), but it is an authentic kind of ridiculous, urgent, emotionally frantic, and just like real trouble or blowing a building out of boredom . The overclocked “voulez-vous” arrangement helps; It is brittle and a bit too fast, feels like crossing its limits at night. On “Supernova”, Kylie’s voice has more bite and life than all of the above tracks, even before the eclectic soprano snaps towards the ends. (It’s one of the few spots on the album to work with her voice, not against it.) Metallic robo-chassis vocal effects, interracial metaphorical confrontations, and desperate, high-key lust memorabilia of the ’70s. Novelties like space disco “I lost my heart for a starship.”

The next track, “Something Something”, is the strongest and least disco. The track loses its sequencer a third of the way, and is left quietly when it returns. There is no real chorus and almost no structure. All that’s left is a spiral high for Kylie, full of rocket-exhaling breaths and airy bangles and zero-irony, “Love is love,” “Can we all be one again?” The finish of the track reportedly brought Kylie and longtime sneaky biffer Stanard to tears; They knew they were on to something. Perhaps they were caught in a moment. Perhaps the song was slightly different in spring 2020 than in 2019; As much as Kylie has said. Perhaps they had heard the sparkling moment where Kylie stopped Disco And restarted Kylie.


Buy: rough trade

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