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KYLIE MINOGUE 'DISCO' REVIEW

☆☆☆☆.5

Image: Supplied.


Australia’s Pop Queen is hanging up the country boots and re-claiming her pop throne on her fifteenth studio album, Disco. On the record, Kylie delivers one of her most curated and direct body of works, synthesising everything we love about the nostalgic sounds of the 80’s, where disco music ran wild. With each era of music, Kylie reinvents herself, conquering whatever she puts her mind to. This new era of music is no different.


Opening the record with the euphoric dance track Magic, Minogue is setting the scene for the dreamy disco soundscape that is to follow. Harmonious piano and brass sounds are weaved throughout the song, all leading up to a big euphoric, melodic chorus. Disco kicks off with a bang with Magic, a track that is sure to be a big moment in any future live shows. Miss A Thing brings the drama and tension of great disco tracks like I Will Survive in a more demure way, whilst showcasing the versatility of the singers vocal performance on the record.


Kylie brings disco into a contemporary soundscape on Real Groove. With the re-emergence of disco and 80’s sounds over the past few years, Real Groove belongs at the top of the charts. Only three tracks in and Kylie is sounding better than ever. Her vocal performance is on point, perfectly encapsulating the characteristics of 80’s disco music, but still feeling modern. The bass slapping track is crying out for a remix featuring Dua Lipa. Monday Blues is locomotion Kylie in 2020. Drenched in Club Tropicana percussion, it’s a feel good track to get you through the week. Kylie takes us back to Studio 54 on tracks like I Love It and Unstoppable. These tracks bring out the joy of disco music, with the deluxe edition of the record featuring an additional four disco filled tracks!


Opening with a vocoder voice, Supernova creates celestial imagery through its galaxy themed lyricism which feels like it could belong on an early Lady Gaga record. The loudest song on the record so far, the camp track is definitely a standout on the record, complete with the Kylie harmonies we came to love at the turn of the century. Shifting gears after the mammoth piece that was Supanova, Say Something is a slow burner with the pop-rock guitar licks made famous throughout the disco era over exhilarating layers of vocals. Last Chance clearly takes its inspiration from ABBA’s Voulez-Vouz and the music of The Bee Gees, with Minogue weaving together the iconic sounds we commonly relate to the disco era in one track.


Opening with an epic dramatic diva moment, Where Does The DJ Go? Is classic Kylie! It’s big, it’s glittery and it makes you want to dance, bringing all the zest of Saturday Night Fever. At this point, every track feels like it will be a big moment live, but it’s hard not to picture Where Does The DJ Go? absolutely going off in an underground club, on a Kylie tour or in our own living rooms. Dance Floor Darling features some signature 80’s spoken word, with an epic tempo change and a killer guitar riff set over some mammoth synths. The records closer Celebrate You is a palette cleanser, exploring the more pulled back and straightforward sounds of the disco era, with sweet vocals and harmonies.


You can’t help but be filled with joy when listening to Disco. Minogue has crafted a perfect listening experience, imbedding feelings of nostalgia within each track. The modern interpretation of disco is sincere and fun, it is authentic. There’s no bells and whistles and cheap tricks, just a deep understanding of an era that changed and shaped the music industry as we know it today. The warm glow of Disco centres around Kylie’s phenomenal vocal performance, sounding as strong and defiant as she is sweet and noble. The body of work has come together to create a memorable listening experience, with each track having its own place and never feeling underwhelming. Each song serves a purpose for the overall narrative of Disco, working in unison to create one of Minogue’s best albums to date.

4.5/5


Disco is out now!

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©2020 by MILKY.

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