At first glance, Aphrodite's cover looks like either the second coming of Christ, or an advertisement for Kylie Minogue's newest, bluest perfume. With that said, Kylie Minogue's Aphrodite proves to be a little bit of heaven and still sleek and sexy enough to be en vogue. In comparison to other Kylie records, The poetic lyrics of 1997's Impossible Princess are still no where to be found, and the striking vocals of 1994's Kylie Minogue have been replaced by airy, nasal one's since 1995, but even so, the album is full of love.
Produced by Stuart Price, the genius who assisted Madonna in the creation of hit LP Confessions on a Dance Floor, the album has the 70's/80's/90's dance flavor while still maintaining the modern sound. Aphrodite isn't quite as danceable as Confessions, but listening to the disc, one realizes that the current Madonna's music is all about strength (and sex) while Kylie takes a much softer approach to the topic of love.
“Cupid Boy” shoots its dart deep into your ears and feet, becoming Minogue's best song to dance to tipsy on the floor. Another future dance floor-classic, “Get Outta My Way” gets things going from pretty much the premiere of the album. “Better than Today” have Minogue's best lyrics in years and production-wise, the most flavor of the entire LP. The title track, in which the Aussie claims to be a “Golden girl, an Aphrodite” turns out to be one of the singers most fierce tracks, well, ever. And it's true, even though Kylie isn't Bea Arthur, she is a golden girl.
When it comes to the theme of love, the songs touched by Kylie's soft spot are “Everything is Beautiful” and “Looking for an Angel.” Both filled with pure euphoria and sweetness. While not as romantic or sexy as 1994's “Automatic Love,” both fill your heart with drops of love.
One track that needs to be a single is the song “Closer.” Along with its eery production and sexy sounds, the song sinks deep into your mind and takes over. One can just imagine a video of a scary, yet sexy Kylie being chased by mutant ducks (listen closely to the intro). In the same vein as Michael Jackson's “Thriller” or Rihanna's “Disturbia,” Minogue carries on the tradition of amazingly haunting, yet sometimes scary pop.
As with most Kylie LP's, there are a few slips. First and foremost being the first single “All the Lovers” in which the singer chirps “Dance, I'm standing here, why won't you move?” Won't move? Hopefully this isn't a metaphor for sex, otherwise, one has to wonder about Kylie's choice of “lovers” and if this one who refuses to move is the best, how were the rest?? Lyrics aside, the music, which sounds like the sissy sister of Kylie's hit “I Believe in You” has to be Minogue's most limp-wristed production since her debut single “Locomotion.” While not as bad of a choice for a first single as the god-awful “2 Hearts,” “All the Lovers” actually is one of the weaker links of the disc.
There are other songs which are not so loveable, such as “Too Much,” which sounds like something you'd hear at half-time, and “Put Your Hands Up (If You Feel Love)” tries (too hard) to be a club anthem when it lacks everything it takes to be one.
Minogue, who is known for her b-sides and bonus tracks, such as “Good Like That” and “Almost a Lover,” that are usually better than the songs that make the album, disappoints so far with the rare songs for Aphrodite. Kylie finally has done a Spanish version of a song with “Los Amores” (“The Lovers”) but it's a shame she wasted the languge on such a track. “Spinning Around” or “Word is Out” are much worthy contenders for the conversion, but I'll take what I can get from Kylie when it comes to espanol.“Heartstrings” sounds like a Fever-era throwaway, “Good Hard or Go Home,” along with its cringeworthy rappers yelling “hey!” every chance they get, is better suited for Rihanna than Kylie Minogue, and while “Mighty Rivers” fits the album perfectly, it doesn't hold a candle to Kylie's legendary bonus tracks. Still though, the b-sides fit the idea Kylie always had for this album: one of love.
Looking at today's charts one might ask where has the love gone? The answer: Kylie's latest LP Aphrodite. Filled with sounds and words of love, the album let's you fall in love with Minogue all over again after the entire X fiasco. As loveable as this album is, its laughable that no matter how good it is, the likes of Christina Aguilera, Lady Gaga and Kathy Perry, with their heartless, throwaway-pop, will outsell Minogue. Most songs of this solid record prove to be the musical form of Cupid, all pointing their arrows to the tushy of love. Kylie Minogue may not be Aprhrodite, but she is a strong contender for the goddess of pop.
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