Kylie Minogue
Body Language

THE REVIEW

After recently discovering (not without astonishment) how long Kylie Minogue's recording career is, which began in the '80s alongside her debut as an actress in a sitcom, acknowledging the various transformations in her artistic life that make her an interesting phenomenon in the realm of Show Business, and finally considering her scarce presence in the DeDataBase or the DataDeBase, or rather in DeBaser's DataBase, I thought it was appropriate for a Pop music "consumer" (with a penchant for electronics) like myself to examine one of her albums.

The artist in question is one of those figures you either hate or love, perhaps because it's difficult to consider them beyond their media armor.
She, for her part (Kylie), confidently flaunts her exterior and always puts her image before everything else.
The first thing that strikes us about this CD, in fact, is the packaging: the graphic layout is very sophisticated, with the cover featuring a black/white theme with the album's title enlarging in perspective and a color photo of Kylie.
In the booklet, beautiful black and white photos are mixed with snapshots in saturated colors.

We put on the disc: it begins with "Slow", which is also the first single; I am struck by the effectiveness of the electronic programming and the total balance of the arrangement, the sensual voice (I had to use this adjective at least once) of Kylie takes us straight into the global disco where all our dreams can come true.
However, continuing with the listening, the other tracks are disappointing; although moving in a varied blend of synth-soul/R'n'B', the album loses its tone, especially if listened to in one go, and the objective quality of the production clashes with the fragmented nature of the playlist.
Exceptions are "Chocolate", which is another interesting track, followed by "Loving Days", appreciated for its "chill-out" sounds that seem better suited to the artist's vocal style.
The lyrics written by Minogue delve into the theme of Love/Personal relationships, and the album's title, after all, leaves little to the imagination.
Kylie references herself by capitalizing on her own image and performs tracks crafted at the top (just read the album credits), but the resulting product only convinces sporadically.

An album to play at low volume by the poolside at sunset, an ideal "background" for the barbecue of superficial listeners, those who jump when a single like "Red Blooded Woman" comes on, exclaiming: «...Isn't this?... What's her name?... the singer from Destiny's Child?!»
Down with the Hit-Parade!