Cannot get Minogue out of your head

BY CHARLOTTE HUGHES ’16
Staff Writer

Australian pop diva Kylie Minogue is back with her newest release, The Abbey Road Chronicles. If her name doesn’t ring a bell, perhaps the catchy dance song “Can’t Get You Out of My Head” will jog your memory. Minogue has been in the industry since 1987 and has stood the test of two decades, releasing 11 studio albums, two live CDs, eight live concerts, and over 50 singles sold internationally.

Needless to say it seems fans just can’t get her out of their heads. Minogue’s newest album shows off her nasally voice and it is not as techno or dance-pop as her previous albums. This new album is a compilation revamping her previously recorded songs with a more instrumental and intimate feel to them.

The Abbey Road Chronicles has a more sentimental, slower beat to it. Minogue is better known for her poppy, peppy tunes, but this album is a shift for the 44-year-old singer. Minogue seems to take it slow, as if wanting to create a more adult, lounge type of feel. This is achieved through violins, cello, and an orchestra that give the vocals more support.

All of the tracks have a drowsy, lazy feel to them and the only thing that wakes you up is the occasional high note of Minogue’s voice. The first few tracks blend together into one long cabaret feel, making you itch for something exciting to happen.

The best example of this is the sensual, sultry song “Slow,” which starts with a steady pluck from a jazz cello, then a repetitive, rhythmic tap of a drum. Minogue’s voice whispers and provides a more intimate experience; you can picture yourself snapping your fingers in a smoke-filled club.

Midway through the album the tone shifts from sultry to excitement, with an upbeat cover of the classic hit “Locomotion,” breaking up the monotony of the previous tracks.

The buzzing movement of this track is followed by a violin-heavy version of her international hit “Can’t Get You Out of My Head.” Stripped of its techno pop, the arrangement is replaced by a more dramatic violin accompaniment, which showcases Minogue’s vocal abilities.

Soon the mood switches back to the lazy, slow tempo with tracks such as “Where the Wild Roses Grow,” a duet between Minogue and Nick Cave who recorded it back in 1995. It has a more dramatic tone with the acoustic guitar and the subtle drumming in the background; Minogue rings out her voice, twanging and quivering, adding considerable emotion and impact to the song. Much like the lyrical content of the other songs this track has to do with relationships, heartache, new love, and eternal love. Yet, despite this common theme the varying paces of each track distinguish their tones.

The Abbey Road Chronicles is the perfect album for any Minogue fan-girl or boy of the Australian pop singer. The album has high points and low points, but those who are fans of contemporary jazz, with a mix of pop, will get the most out of it; if you are expecting a pop dance album then you will be disappointed. Hardcore fans will appreciate this album more than someone who is not very familiar with the original arrangements, or Minogue in general.

It is clear to see this album is meant for the fans who are familiar with her work and in that way is a gift. Fans will truly enjoy this album and appreciate the new version of the songs as opposed to a first-time Kylie Minogue listener.

Questions? Email Charlotte at chughes@fandm.edu.

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