Kylie Minogue
Body Language

THE REVIEW

During this past semester enriching the magical database of DeBaser and "sociologically" analyzing the reactions of numerous colleagues ready to intervene (positively or negatively) on my multimedia writings, I sensed a general and unanimous affection towards Mrs. Kylie, unlike other mainstream figures. Even from individuals who intend to organize violent Crusades against commercial music. Astonishing. Yet Miss Minogue represents the quintessence of pop on a global level: how do we explain these greater "consensuses" compared to other artists, entirely snubbed here? The reasons are simple:

A: The paradisiacal aesthetic vision of herself that Kylie offers to her large audience is the icing on the cake, gold flowing for all the eagerly awaited worldwide (and therefore also of DeBaser);

B: The greater sobriety and simplicity compared to other colleagues in the music biz, often more snobbish and glossy, make the Australian performer decidedly "likable" and pleasant, as well as more spontaneous and sincere.

Having completed this brief analytical excursus on Minogue, let's seriously discuss one of her latest studio works: Body Language, Annus Domini 2003. Well, after the successes of Light Years and Fever, especially the triumph (also considerable in the States) of Can't Get You Out Of My Head, Kylie intended to once again confirm her inclinations towards the Dance Floor, however, taking a decisive step forward compared to the two previous releases which, although pleasant, cheerful, frivolous, and dancey, remained quite "static" in terms of sound evolution. In Body Language she gifted her typical dance with distinct Electronic, Lounge, Techno, House, and Chill Out connotations, often with references to 80s sounds, anticipating the mainstream Electro-Pop revolution of the recent period. A meticulous turnaround, detailed in the smallest particulars, with the precise intent of providing greater sonic heterogeneity to her work, heterogeneity that was certainly weaker in Light Years and Fever.

The first single, Slow, perfectly demonstrates this renewal intent: a pulsating electronic sound and a rather "Eighties" groove make the track delightful, sensual, and alluring, the whole made even more enticing by the video in which Minogue shows her best self dancing voluptuously sprawled on a beach towel, surrounded by youngsters intent on performing the same act. In Chocolate, one of the best-executed songs on the album, R&B, ambient, Chill-Out, and dance exquisitely blend to produce an ecstatic, passionate, sunny, and profound finale; even Red Blooded Woman favors the poppish vibe of the best Kylian tradition over electronic distortions, simple, immediate, danceable. Worth mentioning is the Chocolate videoclip, inspired by 50s musicals.

With Still Standing and Secret (Take You Home) you encounter a bizarre electronic Dance-Pop, characterized by frivolous synths and distortions, especially positioned at the opening of the tracks. The same electronic tones are fused with very soft lounge sounds in Someday, Promises and I Feel For You, the latter falling into a summery R&B/ambient with very funky edges.

It leans towards a Dance with decent Electro contaminations in the likable and immediate Obsession, while Loving Days recaptures the romantic and natural atmosphere of Chocolate, through a good mix of Lounge, R&B, Ambient, and Chill-Out.

A fully enjoyable work, starting from the alluring cover. Now let my dear DeBaserian colleagues provide their personal annotations on the succulent aesthetic features of Kylie Minogue. All that's left for us is to join in the virtual and multimedia howls of all the admirers of Kylie's bountiful and perfect backside rather than her albums (and who doesn't?)

Kylie Minogue, Body Language

Slow

Still Standing

Secret (Take You Home)

Promises

Sweet Music

Red Blooded Woman

Chocolate

Obsession

I Feel For You

Someday

Loving Days

After Dark