01. All The Lovers 
02. Get Outta My Way 
03. Put Your Hands Up (If You Feel Love) 
04. Closer 
05. Everything Is Beautiful 
06. Aphrodite 
07. Illusion 
08. Better Than Today 
09. Too Much 
10. Cupid Boy 
11. Looking For An Angel 
12. Can’t Beat The Feeling 
13. Heartstrings

Stuart Price of recent Scissor Sisters fame, his wide-ranging production team and their collective effort spawn plenty emblematic dance-pop driven tunes across Aphrodite’s twelve instalments. There’s no doubt that Kylie, regardless of who’s assembling her music, is still one of the hardest working pop queens still breaking the dance floor. Even if significance has gradually waned since 2000’s Light Years, Aphrodite supplements resilience in more ways than one – much more than X’s painstaking stabs in the dark. In comparison, the melodious “Closer” and its successor, “Everything is Beautiful” are as leisurely as it all gets, with the rest clinging to wee small hours but completely familiar uptempo dance floor estate. Others like “Too Much”, which remarkably introduces the seemingly forgotten art of pinging polyrhythms, and “Illusion” offer a characteristic Kylie with no gimmickry, but don’t answer the ultimate matter of Price’s occasional dubious reduced-to-clear production style. The marriage between her voice, and his synthetic strings, and average bouncing beats is where its success will be measured given its generally simplistic structure; lead anchor (“All the Lovers”), and three or four winners bisected by a remainder harboured between the featureless (“Cupid Boy”/“Can’t Beat the Feeling”) and the more tolerable (“Get Outta My Way”/“Better Than Today”).

These all may be blips on the radar of the current pop megalomania, but all the more vital is for Kylie to show coherence to be deemed a success by her fans, and in this case a listener not so much concerned with overstated flamboyancy and more about how long before the budgie-birdie vox is just too much to handle. The choice to supplant the sentiment from 2003’s Body Language with a more synthetic sensitivity will most certainly impede the album’s long term impetus. Playing safe, while generally undesired, is all about a veteran could be asked of in the current pop climate. However, regardless of this, from a fan’s perspective, nothing could really be any better, as everything here at least strikes the catchy, cluey and clever aura Kylie so eloquently suggests amidst her musical colour. --- Jake C. Taylor, sputnikmusic.com

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1. Burning Up
2. Burning Up
3. Fever
4. Fragile
5. Fragile
6. Give Me Just A Little More Time
7. Love Affair
8. More More More

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01 Into the Blue
02 Million Miles
03 I Was Gonna Cancel
04 Sexy Love
05 Sexercize
06 Feels So Good
07 If Only
08 Les Sex
09 Kiss Me Once
10 Beautiful (with Enrique Iglesias)
11 Fine

Japan Deluxe
12 Mr President
13 Sleeping With the Enemy
14 Sparks

Kylie Minogue - Vocals
Chelcee - Vocals (Background)
Daniel Davidsen - Bass, Guitar
Mich Hansen - Percussion
Wayne Hector - Vocals (Background)
Tommy King - Keyboards
Eliel Lazo - Percussion
Marco Lisboa - Programming
Oliver McEwan - Bass
Jamie Muhoberac - Keyboards
Karen Poole - Vocals (Background)
Sam Preston - Guitar
Autumn Rowe - Vocals (Background)
Johny Sårde - Percussion
Erick Serna - Guitar
Jesse Shatkin - Bass, Guitar, Keyboards, Piano, Producer, Programming
Kelly Sheehan -	Vocals, Vocals (Background)
Alex Smith - Keyboards, Programming
Andy Wallace - Piano

The ageless and brilliant Kylie Minogue is an unstoppable force on the pop music scene. Long after her contemporaries have fallen by the wayside, become irrelevant, released the same boring records over and over, or embarrassed themselves in various ways, she continues to crank out inspired albums that show absolutely no dip in quality whatsoever. Working with the usual cadre of A-list producers and songwriters, her 12th studio album, Kiss Me Once, is an intoxicating blend of uptempo dance tracks, funky club cuts, sexy midtempo jams, and the occasional ballad. Packed with hooky songs that fit her voice perfectly, it's easily the equal of her previous Aphrodite record and therefore one of her best again. The album is split evenly between empowering odes to staying strong and facing down life's challenges with admirable courage and lightweight bubblegum pop that's super-sexy and super-fun, which might seem difficult to reconcile over the course of 11 songs, but Kylie manages to give both the passion and sass they deserve. The mix of serious and uplifting with goofy and cute is a formula she's made her own over the years, and Kiss Me Once is textbook Kylie. Listing off the album's highlights would basically mean running down the entire track list, but there are a few real knockouts among them. On the serious side is "Into the Blue," a truly inspiring song with a soaring chorus that lets her show off the power her underrated voice can tap into when she lets loose. "Fine" is another "stay strong" song with a sweet message, excellent use of Auto-Tune, and the kind of chorus that will fill your heart with warmth as you sing along. On the sexy side, the synth poppy "Les Sex," an MNDR co-write and production, is lots of fun; "Sexy Love" is a strutting funk track that's sunnier than the sun; and "Sexercise" rises above some really dorky lyrics to actually sound kinda sexy in a robotic R&B kind of way. Standing head and shoulders above everything is the track Pharrell Williams wrote and produced for her. Coming out of an emotional first meeting with Kylie, he wrote her the amazingly catchy "I Was Gonna Cancel," a heartwarming affirmation of how awesome she is that sounds like a continuation of his work with Daft Punk on "Get Lucky." One half expects the robots to show up somewhere amidst the clavinets, disco bells, and shimmering synths. They don't, but Kylie proves to be a wonderful conduit for a typically brilliant production. If it's not a huge smash someone isn't doing his or her job right. The only disappointment is her duet with Enrique Iglesias, "Beautiful." It's a sappy ballad that feels out of place here and would work better on the soundtrack of a really bad rom-com. Despite this one skippable moment, Kiss Me Once is a glittering, fun, and surprisingly powerful album that's classic Kylie through and through. ---Tim Sendra, Rovi

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01. 2 Hearts (Version by Studio)
02. I Know (Extended Version)
03. Tightrope
04. Harmony
05. Soul On Fire
06. I’m Sorry
07. No Better Love
08. Slo Motion
09. This Girl
10. Almost A Lover
11. Paper Dolls
12. Ocean Blue
13. Love Takes Over Me
14. Say the word
15. Bury me deep in love ( with Jimmy Little)
16. Confide In Me (French Version)
17. Trippin’ Me Up (Acoustic Version)
18. Death is not the end
19. If you don’t love me

Ahh, Kylie Minogue. Sex goddess, patron of many a thing, and general cool person and great musician.

The album is a greta mix of disco-esque pop music which simply makes you wanna get up and dance. As with most pop music, the lyrics don't exactly take the focus in the music, but there are some really great lines on the album. Some of the instrumentation and production on this record is just really brilliant.

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1. All the Lovers
2. On a Night Like This
3. Better the Devil You Know
4. Hand On Your Heart
5. I Believe in You
6. Come Into My World
7. Finer Feelings
8. Confide in Me
9. Slow
10. Locomotion
11. Can’t Get You Out of My Head
12. Where the Wild Roses Grow
13. Flower
14. I Should Be So Lucky
15. Love At First Sight
16. Never Too Late

What if Kylie's busy, chrome-plated disco hits were reinterpreted by an orchestra? The Abbey Road Sessions strips 15 familiar songs (there's also one previously unreleased track, Flower) of their giddiness, and sculpts them into grownup love songs, sung by a Kylie who sounds, for the first time, like a fortysomething woman who has encountered a few slings and arrows along the way. There are some majestic moments: Slow is a torchy gospel/blues number, with Kylie transported by lust as she anticipates putting "my best dress on"; On a Night Like This transforms the teenage-crush fervour of the original into a cool, big-band seduction; and 1988's tinny I Should Be So Lucky has been slowed down and subtly embossed with strings, over which Kylie sounds needy and vulnerable. On the other hand, why summon Nick Cave to rerecord their duet of Where the Wild Roses Grow if the result is nearly identical to the 1995 version? While we're at it, Locomotion didn't need to be turned into a girl-group pastiche, and Flower muscles in on Adele's brawny ballad territory. These aside, an imaginative addition to the Minogue catalogue. ---Caroline Sullivan, guardian.co.uk

Na płycie znajduje się szesnaście utworów reprezentujących niesamowitą, trwającą już 25 lat karierę muzyczną artystki. Wszystkie piosenki ukażą się w całkowicie nowych aranżacjach. Album został nagrany w legendarnym londyńskim studiu przy Abbey Road z udziałem nie tylko samej wokalistki, lecz również orkiestry w pełnym składzie.

Na albumie usłyszymy także Nicka Cave’a, który specjalnie na potrzeby albumu ponownie nagrał swoje partie wokalne do słynnego przeboju obydwojga artystów „Where The Wild Roses Grow”. Na płycie znajdą się również inne hity piosenkarki, w tym przejmujący „Better The Devil You Know”, zachwycający „Confide in Me”, gorący „On A Night Like This”, radosny „All The Lovers”, przepiękny „Finer Feelings” oraz odwołująca się do stylowego szyku lat 50. ubiegłego wieku wersja przeboju „The Locomotion”.

Szesnaście zgromadzonych na albumie utworów udowadnia jedno – pozbawiony technologicznie zaawansowanych rozwiązań produkcyjnych, emocjonalny wydźwięk wielu piosenek Kylie nabiera całkowicie nowej jakości, zaś głos jednej z największych gwiazd światowego popu nigdy nie brzmiał lepiej. ---empik.com

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1. Can't Get You Out of My Head - Kylie Minogue 3:50
2. Spinning Around - Kylie Minogue 3:27
3. I Should Be So Lucky - Kylie Minogue 3:24
4. Love At First Sight - Kylie Minogue 3:57
5. In Your Eyes - Kylie Minogue 3:18
6. Kids (Radio Edit) - Robbie Williams and Kylie Minogue 4:19
7. Better the Devil You Know - Kylie Minogue 3:53
8. All the Lovers - Kylie Minogue 3:20		play
9. Give Me Just a Little More Time - Kylie Minogue 3:08
10. Celebration - Kylie Minogue 3:59
11. Slow - Kylie Minogue 3:13
12. Red Blooded Woman - Kylie Minogue 4:18
13. I Believe in You - Kylie Minogue 3:17
14. On a Night Like This - Kylie Minogue 3:35
15. Confide in Me - Kylie Minogue 4:24
16. Get Outta My Way - Kylie Minogue 3:38
17. The Loco-motion (7" Mix) - Kylie Minogue 3:15		play
18. Tears On My Pillow - Kylie Minogue 2:30
19. Wow - Kylie Minogue 3:13
20. In My Arms - Kylie Minogue 3:32
21. Never Too Late - Kylie Minogue 3:23

Kylie Minogue (born May 28, 1968, in Melbourne, Australia) is an Australian pop singer who rose to fame after starring in the Australian TV soap Neighbours. Whilst her cover of The Loco-Motion in 1987 reached the Australian #1 spot, it was the Stock Aitken Waterman ‘hit factory’ which produced her first UK chart-topper, I Should Be So Lucky, in 1988. Throughout the late 1980s, Minogue was a phenomenon in both Australia and the UK, and also saw success in Asia and Europe.

Minogue went on to have the most number of consecutive UK top ten hits of any new artist. However, she left Stock Aitken Waterman and PWL Studios in 1992 and signed with Deconstruction (through BMG). Despite receiving critical acclaim and working with notable artists like the Manic Street Preachers and Nick Cave, commercial success was not forthcoming. Parting ways with Deconstruction, she spent a short time in the musical wilderness before pulling on a pair of gold hotpants and returning to her pop roots with the #1 hit Spinning Around.

Minogue’s biggest hit to date is Can’t Get You Out of My Head, from the globally successful album Fever. It reached #1 in 40 countries and has sold over ten million copies worldwide. She has become one of the most successful female recording artists in the world with #1 hits spanning three decades, and is considered a national treasure in both the UK and her native Australia.

In 2005, midway through her Showgirl: The Greatest Hits Tour, Minogue was diagnosed with early stage breast cancer, causing her to halt the Australian leg of her tour. The news shocked both fans and non-fans alike, and the ‘Kylie effect’ was felt by breast cancer charities - both in terms of donations and the upsurge of queries from concerned women of all ages. Through her personal suffering, Minogue had inadvertently increased global awareness of breast cancer issues. After successfully coming through a tough twelve-month battle with the disease, in early July 2006 Minogue announced rescheduled dates of her now renamed Showgirl: The Homecoming Tour - fulfilling her Australian dates with a concert on November 11, 2006 in Sydney, along with extra dates, taking the updated show back to London and Manchester in January 2007.

Although now more prominent in music, Minogue makes an occasional return to acting - her most recent project being her well-publicized appearance alongside David Tennant in the Doctor Who Christmas 2007 episode, “Voyage Of The Damned”.

On November 12, 2007 Minogue released the single 2 Hearts which reached #4 in the UK chart, and which also peaked at #1 in Australia. The album it was from, X, earned her a BRIT Award nomination for Best International Album. The album saw her collaborate with many writers and producers including the Freemasons and Calvin Harris. The following year, Minogue won the Best International Female Solo Artist award at the 2008 BRIT Awards, and in May also received the French Ordre des Arts et des Lettres, France’s highest cultural honor.

On December 1, 2008, Coldplay released “Lhuna”, a collaborative project with Minogue, at the launch of the (RED)WIRE™ website to mark World AIDS Day 2008. This would be the world premiere of the song.

Minogue’s tenth studio album, X, received a Grammy Award nomination for Best Electronic/Dance Album of 2009. It was her fifth Grammy Award nomination.

In 2010,Minogue released her 11th studio album titled Aphrodite,preceeded by the hit single All the Lovers,one of her most succesful singles to date.With Aphrodite,Minogue became the first female artist ever to have #1 albums on the UK charts for 4 consecutive decades.In 2011,she embarked on the Les Folies Tour,which travelled to 5 continents,and was seen by over 600,000 fans worldwide.

Minogue is celebrating her 25th anniversary in the music industry in 2012. Timebomb was released by Minogue as a single to coincide with the celebration of the singer’s quarter century in the music business. The Timebomb Songfacts reports that the song was dropped on May 25, 2012, two months short of twenty-five years after her debut single, a cover of Little Eva’s The Locomotion. ---last.fm

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01. Kylie Minogue - Can't Get Blue Monday Out Of My Head 
02. Kylie Minogue - Spinning Around (7th District Club Mental Mix) 
03. Kylie Minogue - In My Arms (Death Metal Disco Scene Mix) 
04. Kylie Minogue - Love At First Sight (Kid Creme Vocal Dub) 
05. Kylie Minogue - Slow (Chemical Brothers Remix) 
06. Kylie Minogue - Come Into My World (Fischerspooner Mix) 
07. Kylie Minogue - Red Blooded Woman (Whitey Mix) 
08. Kylie Minogue - I Believe In You (Mylo Vocal) 
09. Kylie Minogue - In Your Eyes (Knuckleheadz Mix) 
10. Kylie Minogue - 2 Hearts (Mark Brown's Pacha Ibiza Upper Terrace Mix) 
11. Kylie Minogue - On A Night Like This (Bini And Ma Mix) 
12. Kylie Minogue - Giving You Up (Riton Re-Rub Vox) 
13. Kylie Minogue - In My Arms (Sebastien Leger Mix) 
14. Kylie Minogue - The One (Andy Bernhard Mix) 
15. Kylie Minogue - Your Disco Needs You (Casino Mix) 
16. Kylie Minogue - Boombox (LA Riots Remix) 
17. Kylie Minogue - Can't Get You Out Of My Head (Greg Kurstin Mix) 
18. Kylie Minogue - Butterfly (Mark Piccotti Sandstorm Dub)

Kylie Minogue's 2000s resurrection as an electro-pop superstar is celebrated on this remix collection, which includes reworkings of her songs from artists such as the Chemical Brothers and Fischerspooner.

"Kylie herself could be said to look like a robot. A robot version of herself in human form, a version of herself manufactured in the minds of robots. The buildings around her might exist only in the imagination of the robots. The sound we hear, the soundtrack to her journey, might exist only inside the imagination of the robots." This is a vision of Kylie Minogue, spied driving in the video for "Can't Get You Out of My Head", as she figures throughout Paul Morley's brilliant 2003 book Words and Music: A History of Pop in the Shape of a City. Morley was writing in the wake of Kylie's monster hit and its attendant album Fever, both of which established Minogue as a mesmerizing figure fit for all manner of imaginings. She could be a minx, a glamor puss, an oblivious messenger, a wizened pop emblem. She could even be, as the storied post-punk critic Morley sketched in delirious detail, a worthy hero to measure against the most lionized icons of music as serious capital-a Art.

Part of Minogue's pliability owes to the way she seems to recognize and understand her many various roles, but part of it owes to her voice, which is simultaneously blank and playful-- the coy coo of a character who knows that she herself matters less than what her spirit (as Morley took pains to note) "might" or "could be said to" suggest. This is the Kylie who would figure into Boombox, a collection of remixes from 2000 to 2008. Or so it would seem.

Opener "Can't Get Blue Monday Out of My Head", one of the older tracks here, sets Minogue's best song against the instrumental backdrop of New Order's "Blue Monday". Her voice sounds a bit rootless, floundering in the best suggestive way. Listen closely and it's almost like Kylie knows she's implicitly conflicted within the rub of what plays now like a throwback to a time when mash-ups consciously toyed with the tension between source material and imaginary ideals.

It's a rich start, but unfortunately an anomaly in a collection that leans more often on less-interesting mixes that cast Kylie as little more than a dance siren. She's a good dance siren, to be sure. The Chemical Brothers' enticingly gaudy and patient remix of "Slow" gains a lot from the sly sensuality in her voice as it stretches out, and she sounds defiantly human within the constraining squeeze of Fischerspooner's lithe electro mix of "Come Into My World".

But too many tracks rate as generic "club" mixes that relegate Kylie to a mere bit player with little to say in the midst of overly splashy electro-house beats and trance-y longueurs. She sounds like a Gwen Stefani-aping cheerleader in Death Metal Disco Scene's mix of "Wow", and she's barely audible at all in Kid Crème's vocal dub of "Love at First Sight". It's as if the remixers, with so much at their disposal, thought less about what Kylie can signify than she herself seems to when adopting her own stock strategies. ---Andy battaglia, pitchfork.com

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