20031117
The Undercover Review
Ever since Kylie's "Impossible Princess" album it has been difficult to keep up the "Oh she's just one step behind Madonna" attitude and she has become her own superstar. Six years and three albums later, she has taken over New York's pop pride and joy.
Releasing an album at such a high point in your career is of course necessary, but still a dangerous task. Rarely will it shoot you higher, often it will bring you crashing down faster than you made it to the top, but in this case it has given Kylie a tangent to work with. Much like Madonna's past two albums, "Body Language" leans towards the euro-trash sound, but won't sound so shockingly different that her current fans can't appreciate it.
The first single (and first track) lyrically embodies her newfound desire to ditch the "sexy" image (although the artwork doesn't…) as she sings "Slow down and dance with me, yeah, slow" over great bass lines and Human League style electro-melodies that only become more prominent as the track moves into 'Still Standing'.
'Secret |Take You Home|' features British hip hop superstar Ms. Dynamite (credited to her real name, Niomi McLean-Daley) co-writing, and presumably advising Kylie on her rap-breakdown not to include the line "I do yoga and palates and the room is full of hotties".
'Red Blooded Woman' gives a nod to Dead or Alive's brightest moment in the sun with the line "You spin me round round round like a record" before launching into the clever line "You'll never get to heaven if you're afraid to get high".
The lush vocals of Welsh producer Green Gartside grace 'Someday'. Gartside has worked with Madonna, Elvis Costello and Chaka Khan and couldn't be better placed than this smooth track. 'Loving Days' continues with this feel whereas the closer (for everywhere except Australia) 'After Dark' leaves the listener on a funky note.
For those of you who have picked up the album from this big brown land, you'll have the bonus track, 'Slo Motion' to bring you back down to earth while before being perked up once again when you inevitably begin this album again.
By Tim Cashmere
Ever since Kylie's "Impossible Princess" album it has been difficult to keep up the "Oh she's just one step behind Madonna" attitude and she has become her own superstar. Six years and three albums later, she has taken over New York's pop pride and joy.
Releasing an album at such a high point in your career is of course necessary, but still a dangerous task. Rarely will it shoot you higher, often it will bring you crashing down faster than you made it to the top, but in this case it has given Kylie a tangent to work with. Much like Madonna's past two albums, "Body Language" leans towards the euro-trash sound, but won't sound so shockingly different that her current fans can't appreciate it.
The first single (and first track) lyrically embodies her newfound desire to ditch the "sexy" image (although the artwork doesn't…) as she sings "Slow down and dance with me, yeah, slow" over great bass lines and Human League style electro-melodies that only become more prominent as the track moves into 'Still Standing'.
'Secret |Take You Home|' features British hip hop superstar Ms. Dynamite (credited to her real name, Niomi McLean-Daley) co-writing, and presumably advising Kylie on her rap-breakdown not to include the line "I do yoga and palates and the room is full of hotties".
'Red Blooded Woman' gives a nod to Dead or Alive's brightest moment in the sun with the line "You spin me round round round like a record" before launching into the clever line "You'll never get to heaven if you're afraid to get high".
The lush vocals of Welsh producer Green Gartside grace 'Someday'. Gartside has worked with Madonna, Elvis Costello and Chaka Khan and couldn't be better placed than this smooth track. 'Loving Days' continues with this feel whereas the closer (for everywhere except Australia) 'After Dark' leaves the listener on a funky note.
For those of you who have picked up the album from this big brown land, you'll have the bonus track, 'Slo Motion' to bring you back down to earth while before being perked up once again when you inevitably begin this album again.
By Tim Cashmere
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