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The official Kylie thread; New album "Golden"
Topic Started: Jan 13 2013, 01:57 AM (19,461 Views)
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It's hard to say what the next single should be. Word has it she has filmed a video for "Sexercize", but surely she can't think it would be a good single choice?

"Beautiful" might actually do quite well.
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The really odd thing about this album is that it took two years to record and dozens of writers and producers, yet it sounds like it was cobbled together in a few weeks. It all sounds rather cheap, basic and throwaway.
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Into The Blue 7/10
Million Miles 6/10 cute, yet terribly generic
I Was Gonna Cancel 9/10 pretty much pharrell by numbers but it's charming and so catchy. definitely single candidate.
Sexy Love 5/10 B side material. oh, screw it, most of her b sides are superior to this. album filler
Sexercize 6/10 a lot better than the snippets suggested, however definitely not worthy of making it to the final cut
Feels So Good 8/10 grower alert! top production, great melody. this should sound fantastic in summertime
If Only 8/10 lovin the 80s sonic references. i'm actually intrigued by it - sounds current yet nothing like she's ever done before
Les Sex 9/10 this is very x era kylie, ain't it? i mean this in a good way. an instant fave
Kiss Me Once 9/10 this is so SAW influenced i almost cried out of nostalgia. classic kylie track already
Beautiful 8/10 this is less of a duet rather than enrique providing backing vocals. lovely ballad and a wise 2nd single choice
Fine 8/10 what a way to close the standard edition. amazing uplifting chorus and those male backing vocals really elevate the whole energy

Sparks 9/10 one of the most glorious choruses she's ever delivered, so dramatic, yet incredibly ethereal. should have been on the album. one of her best b sides ever

overall,, i think this album epitomises the transitional stage she's at right now. providing a mix of kylie stamped pop anthems along with tracks that display some sort of creative progress must not be an easy cook up. personally, i find this set a whole lot more exciting than aphrodite, which was kylie reviving a tired, out of date sound meant to please her fanbase. this album is safe in some parts, but also revealing traces of a new direction she might dare to follow in the future. it's fresh, very of its time, neither as cynical as x was, nor as narrowly conceived as body language turned out to be. yes, there are no huge future hits on it, however i could still name a bunch of tracks able to make some sort of commercial impact unlike aphrodite, which included one obvious hit and then a dozen of fillers. this album really works as a body of work meant to be listened to from start to finish.


and yes, it's a better album than the likes of fever, body language and aphrodite. probably on par with light years and x
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Mar 10 2014, 11:39 PM
It's hard to say what the next single should be. Word has it she has filmed a video for "Sexercize", but surely she can't think it would be a good single choice?

"Beautiful" might actually do quite well.
it's been confirmed sexercize is going to be just a video to fuel promo and not an official single. it should be out by the end of this month.

beautiful could actually do great for her. after that, i'm thinking i was gonna cancel and kiss me once. as much as i like les sex, i fear it's too much of a niche song and she really doesn't need that at this stage.
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Mar 10 2014, 11:53 PM
The really odd thing about this album is that it took two years to record and dozens of writers and producers, yet it sounds like it was cobbled together in a few weeks. It all sounds rather cheap, basic and throwaway.
thing is, this has been the main problem with kylie's albums ever since she departed from stock aitken waterman. taking long breaks between album releases, recording with tons of people (some of which were A class writes/producers) in the meantime - i mean she's worked with the likes of goldfrapp and daft punk, roisin murphy also offered her songs, surely they couldn't have been so crap ( mind u, off and on by roisin was AMAZING and that was served to kylie). god knows what happens behind the scenes so perhaps it's not all kylie's fault. however i do hope kylie will be confident enough to take matters to her own hands at some point. her songwriting on impossible princess proved she's a talented lyricist, she just needs to stick with a small bunch of co-writers/ producers to craft a genuinely cohesive album. shopping for the best songs just ain't doin her any favours.
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FuckBuddy
Mar 11 2014, 12:31 AM
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Mar 10 2014, 11:53 PM
The really odd thing about this album is that it took two years to record and dozens of writers and producers, yet it sounds like it was cobbled together in a few weeks. It all sounds rather cheap, basic and throwaway.
thing is, this has been the main problem with kylie's albums ever since she departed from stock aitken waterman. taking long breaks between album releases, recording with tons of people (some of which were A class writes/producers) in the meantime - i mean she's worked with the likes of goldfrapp and daft punk, roisin murphy also offered her songs, surely they couldn't have been so crap ( mind u, off and on by roisin was AMAZING and that was served to kylie). god knows what happens behind the scenes so perhaps it's not all kylie's fault. however i do hope kylie will be confident enough to take matters to her own hands at some point. her songwriting on impossible princess proved she's a talented lyricist, she just needs to stick with a small bunch of co-writers/ producers to craft a genuinely cohesive album. shopping for the best songs just ain't doin her any favours.
Totally! I do think she has a great album in her, but they mostly end up seeming like a collection of mismatched songs thrown together. That's fine in itself, but I just think she could do better. This new one reminds me a lot of "X" in that respect. I do like it though. The latter half is better for me.

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Spotify Session is now available:

http://smarturl.it/KylieSpotify

Live performances of: Kiss Me Once, CGYOMH, ITB, Beautiful
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Full 'Mr.President' and 'Sleeping With The Enemy' bonus tracks can be heard here, starting around the 39 minute mark:

http://player.ooyala.com/iframe.html#pbid=d7724830c63641b4b5782eadefb84891&ec=NnNzY0bDqpVt5KApfSGL5a_W26tDq9aO&docUrl=http%3A%2F%2Fwww.sayhey.co.uk%2Fforum%2Fshowthread.php%3F127306-Mr-President-Sleeping-with-the-enemy-IN-FULL-
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The 'Mr.President' verses remind me a lot of Madonna's 'Some Girls'.
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'Sleeping With The Enemy' is pretty slinky! I like it. It's very Kylie Minogue-era.
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so, into the blue is at 7 on today's midweeks. the bad news is the single version charting near the top10 on itunes has been miraculously removed, leaving the album version lingering at the bottom end of the top40. what a way to sabotage its shot at a top10 position
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WTF? Why did that happen??
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her label must have thought it'd be better for one version to chart on itunes instead of two, thus gathering all sales and increasing visibility with a placement among the top10 sellers. so they removed the single version, which was just outside the top10. too bad the album version is yet to take off, currently being stalled around 35. imagine if this costs her a top10 peak. what a major fuck up.
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Nice Huffington Post interview!

http://www.huffingtonpost.co.uk/2014/03/11/kylie-minogue-interview-kiss-me-once_n_4941756.html
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was just reading this and about to post it myself!

i like the fact she's giving lots of details about the creative process of the album during this era. so refreshing she's actually questioned about her music these days. one can tell she's definitely very in charge of the work behind it. and how cute her fave song is the title track - it is my fave one, too.

loved her answers on struggling with fame and its consequences. she comes across as really grounded and with a perspective i'm sure it's hard for anyone to maintain when in her position. this is certainly one of the reasons it's so absurd not liking her as a person.
Edited by FuckBuddy, Mar 12 2014, 01:15 AM.
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I agree with The Guardian review:

Kylie Minogue: Kiss Me Once review –
'Glossy and depthless'

Her voice isn't the strongest, the lyrics are woeful and filler abounds – but Kylie hasn't lost her knack for producing a superior brand of pop
3 out of 5

Alexis Petridis

Twenty-seven years into a career that was supposed to last about 27 minutes, the release of Kylie Minogue's 12th studio album seems a good moment to pose a couple of pertinent questions, namely: how? And why? These are asked without any meanness or snark intended: whatever you make of her music, there's something pretty cheering about the fact that one of Britain's biggest pop stars is a 45-year-old woman. Pop, particularly the kind of glossy, depthless pop in which Minogue deals, is a young person's game: these days, she's competing not with artists who weren't born when she released her first single, but with artists who weren't born when she made her ill-fated post-Britpop bid for indie credibility. If your career lasts 27 years, then in pop terms, you're like one of those tortoises they find on tropical islands, still apparently thriving despite the existence of photos that clearly show them with Lord Baden-Powell or General Gordon. And yet, here she is, in 2014, if not quite at the top of her game – that would be 2001's Fever, which sold 6m copies worldwide – then so close to it as to make little difference: her albums reliably go platinum, her tours rake in tens of millions of pounds.

With the best will in the world, it's not down to some unearthly nonpareil talent: her voice doesn't make you want to stick cheese in your ears, but nor does the world momentarily stop turning when she sings. She isn't exactly the queen of the perfectly executed reinvention, either. She evinces the odd hint of longing to make music with a bit more maturity and gravitas – you might, too, if you found yourself at 45 singing "you're sexy, what you need's a sexy love … give me that sexy love, you look so sexy" as Minogue does on Sexy Love – but when the public respond with varying degrees of relative coolness to her dabbling with orchestras, alt-rock or indeed a more sophisticated take on chart pop, she seems to return uncomplainingly to what people want her to do. Nor have her audience bought into a gripping character-led narrative arc: she's well-practised at saying almost nothing worth hearing in interviews, and her interior life rarely makes it into her music.

In fact, listening to Kiss Me Once, you start to wonder if the lack of personality might perversely explain Minogue's longevity: unlike, say, recent releases by Madonna, her music never feels like an artist struggling to impose their character on the latest developments in pop, because she doesn't really have a character to impose. Certainly, Kiss Me Once has recent pop nicely covered, from brostep to the 90s house revival to the on-going ubiquity of Pharrell Williams, who contributes a song called I Was Gonna Cancel. It's the first, but presumably not the last major pop album to display the influence of Daft Punk's Random Access Memories. You can hear its echoes on Beautiful, a ballad that features a mass of vocoders, and a chugging vintage synth that's very Giorgio By Moroder: it also features a male vocalist who turns out to be Enrique By Iglesias. Sexy Love, meanwhile, is a pretty blatant attempt to recapture the disco magic of Get Lucky. Shameless or not, it's a really good song: good enough, in fact, to stop you wondering which of its five co-authors – Wayne Hector, Autumn Rowe, Peter Wallevik Mich, Hedin Hansen and Daniel Helψy Davidsen – came up with the lyrics, before concluding it was probably one of them that doesn't have English as a first language. That said, Sexy Love is like Marvell wooing his Coy Mistress compared to Sexercise, which gets itself in to such a muddle trying to find sport-related metaphors for sex that it starts coming up with phrases that convey something other than what you suspect they're supposed to mean. "I want to see you beat all your best times," purrs Minogue: well, if you're absolutely sure that's what you want, I can probably be at the "finishing line", so to speak, in about 90 seconds flat.

Unexpected and presumably unwitting thumbs up for premature ejaculation notwithstanding, Kiss Me Once demonstrates what may be the most prosaic reason for the longevity of Kylie Minogue's career. She can get good material out of the people who write pop songs for everybody, a tradition that began with her singles for Stock, Aitken and Waterman – no So Macho or I'd Rather Jack for Miss Minogue – and has continued into the age of Sia Furler and Cutfather. Of course, they sometimes palm her off with filler – Million Miles, Feels So Good – or stuff like Into the Blue, which isn't so much a song as a compendium of musical clichιs, among which Auto-Tuned vocals and Coldplay-inspired "ey-oh"ing figure heavily: were it any more obviously battery farmed, Hugh Fearnley-Whittingstall would be making an investigative documentary about it. But with equal frequency, they give her something genuinely great. Pharrell may be ubiquitous, but I Was Gonna Cancel is a really effervescent example of what he does, complete with an improbable sample of an opera singer. Kiss Me Once is a superior brand of bubblegum, offering a fantastic collision of sci-fi electronics and glossy AOR melody, while the blaring 80s synth and warped vocal samples of Les Sex – trust me, the less time we linger on the lyrics, the better it'll be for all of us – border quite thrillingly on cacophony.

A handful of great moments, a bunch of filler, some excruciating lyrics about sex: you could use that to describe countless other Kylie Minogue albums. They went platinum: this probably will, too. You wouldn't bet against her still having glossy, depthless pop hits when the artists who weren't born when she made ill-fated post-Britpop bid for indie credibility are long retired.

http://www.theguardian.com/music/2014/mar/13/kylie-minogue-kiss-me-once-review
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alex petridis is a reviewer i pretty much respect his opinion and he does make a valid point or two trying to explain kylie's longevity. however, it's blatantly obvious he still doesn't get her very essence, which is pretty understandable for someone who's primarily into "serious" music, i certainly cannot judge him for that. though it puzzles me how he rates sexy love as a daft punk influenced highlight (can't see the connection) while naming feels so good a filler (now, seriously?) and les sex a cacophony accompanied by trashy lyrics - since when do camp and tongue in cheek lyrics equal to trash i have no idea.

anyway, 3/5 is pretty decent for a guardian review, and even q gave it 4 stars. positive reviews overall.
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meanwhile, the single has fallen to #10 on today's midweeks. it is slowly rebounding on itunes (now at 23) but there's little hope for a top10 entry
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she's so effortlessly lovely and adorable !



i took the test and i'm can't get you out of my head kylie, mind u :drama:
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if by effortlessly lovely and adorable you mean acting like a 8 year old girl, yes, totally :chuckle:
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