Kylie Minogue - Disco

[RayRay]

Watch it on your TV then

I'll watch one of her DVD's instead.

Can't be bothered to connect my laptop to our tv (if that is even possible).

[minime]

I'm still hoping she changes the album cover like she did for Kylie Christmas.

[KEY9481]

She won't, as the album has already been sent for production.

[Mikerocha]

The album cover is fine. We need to let it go.

[Erotica]

I don't have any problems with the cover.

[KEY9481]

Interview + performance of Magic at the Graham Norton Show on Nov 6th.

[SerbianInLA]

I like the cover. It also reminds me of Glenn Close in “Fatal Attraction”.

[RayRay]

I love the cover. Now hoping for some fab disco tracks.

[KEY9481]

How Kylie Minogue became a Disco dancing queen for dire times

In its early stages, Kylie Minogue publicly described her 15th album as disco for grown-ups. “I didn’t even really know what I meant,” the Australian icon clarifies with a laugh. But when the pandemic forced the 52-year-old artist to finish 90 percent of the project in her makeshift home studio, she gained a much firmer grasp on its themes of escapism. “Even grown-ups need to have fun. Grown-ups can dance like they’re still 17,” she says. "I’m realistic but hopeful. I don’t think it’s an album of throwaway subject matter; even if it feels like [singing] about the dance floor, it still has its place.”

Amid global strife, Minogue is well aware that the album’s euphoric soundscape lands at a “slightly odd” time when dancing together at a club remains a far-off dream, but she hopes listeners will work out the ethos of the moment through the art of the groove. And she’s made it easy on Disco (out Nov. 6), tracing the genre’s evolution from the ’70s through the 2000s, with ethereal piano keys melting into brass ("Magic"), talk box effects ("Miss a Thing"), slithering ’80s strings ("Real Groove"), and even self-referencing sounds that nod to her own hand in shaping disco's modern revival on albums like Light Years and Fever.

Disco isn't just a roadmap for the genre's progression, it also marks a turning point for Minogue as a master of her own music. After the spread of COVID-19 put a brief halt on recording, Minogue took control and set up a personal booth in her London home's posh lounge room, admittedly referring to herself as a "guinea pig" for production: "It was lots of off the clothes rack, moving the clothes rack, moving the duvet.... it was pretty DIY, use-what-you-can," she recalls with a laugh, admitting that some of the songwriters, producers, and technical personnel who contributed to Disco are peers she only knows "from the waist up" in two-dimensional, virtual form. "We realized this isn’t going to be perfect, but we’re passionate about this and will do our best to make it work."

Those raw, borderline improvised moments opened the floodgates for Minogue to explore a new side of herself as a lyricist, making Disco a progressive dive into new narrative territory unlike anything she's done before.

"There’s a song called 'Celebrate You,' it’s about a person, Mary. [It came about on] one of the last days before lockdown. We knew we weren’t going to see each other in the studio for a while," she explains, suggesting that the unorthodox circumstances prompted a bold risk: Telling a story in the third-person. "This is quite new for me in that, when you hear the song, you might ask the same question like, 'Who’s Mary?' We don’t actually know, but she’s all of us. She’s anyone who’s feeling a bit down and needs to know that we’re loved or that you’re more than enough. I can’t think of a song of mine in the past that is that direct, even though that person is any number of people."

But Disco is more to Minogue than a gateway to shimmying catharsis for stir-crazy fans. Recounting days spent losing herself to the bliss of her father’s Donna Summer records, she feels the project represents her power in providing musical remedies of her own with a beat that's long lived in her soul, ready to come out at the right moment in ways that are healing to listeners.

“We didn’t want the lyrics to be [too] heavy-handed, but we couldn’t help but be aware of the relevance they had,” she explains of songs like the optimistic subtle banger "Say Something," adding that her investment in delivering eclectic forms of relief is what kept her committed to the foreign genesis of the album. “When I was younger, I was successful before I had the experience. I was on the back foot for a long time. Now, I love utilizing the tools I have. I know which fuel to put in the engine. There’s drive to be successful and do good things, but to reach people and connect them, it means something. I wanted more of that.”

Article for EW. Sounds really, really promising.

[firefly_86]

I was excited for the show until I saw that a) it's £16, b) it's only 50 minutes, and c) it's pre-recorded anyway

[menime123]

I was excited for the show until I saw that a) it's £16, b) it's only 50 minutes, and c) it's pre-recorded anyway

She should have just made it £20 and included a copy of the album.

[KEY9481]

She should have just made it £20 and included a copy of the album.

Would not have counted for the UK Charts.
And there is an option to add the album to your cart!

[KEY9481]

I know beredy is dying to win this.

[menime123]

Would not have counted for the UK Charts.
And there is an option to add the album to your cart!

Mel C just did it and they counted.

[Dave2Hearts]

I love it - out now!

So disco! <3 3rd amazing track.

[NoAngel]

Based on 3 songs, this album has a great potential to become one of her best.

[dylonj]

I don't know.......This does not feel authentic if that makes sense. None of the songs feel like authentic Disco. I'm probably the only one who feels this way though. I mean the songs are nice, but nothing has blown me away. I think I expected too much.

[KEY9481]

I don't know.......This does not feel authentic if that makes sense. None of the songs feel like authentic Disco. I'm probably the only one who feels this way though. I mean the songs are nice, but nothing has blown me away. I think I expected too much.

I was afraid we were getting 15 "New York City" so I am super excited about the outcome

[KEY9481]

More infos about the songs sent to the media, from Popjustice :
- Real Groove is fun, would fit on Carly Rae's Emotions;
- Monday Blues is heavily inspired by the 70s, instantly recognizable (I suspect a sample maybe?);
- Miss a Thing is really soft sounding.

[Wayne]

I can't tell you how excited I am for this record - the last time I felt like this about a Kylie record was probably Aphrodite (on the back of how much I loved the first single All The Lovers, which continues to be one of her best ever songs).

I hope for big things for Kylie with this record - everything so far has been fantastic.

[KEY9481]

CLASSIC POP (November issue)

KYLIE MINOGUE - DISCO
★★★★

Dig out the mirror balls, the jumpsuits and the polyester print shirts! Kylie's back with a banging collection of dancefloor spanglers...

Halfway through Kylie Minogue's 15th album, on the sometimes almost ABBA-like Last Chance, she warns us "the DJ's gonna play my song". This, she tells us, is "our last chance for the last dance, but frankly it sounds like it's destined for a marquee, not a nightclub : the song could crown any wedding playlist, assuming weddings ever involve parties again.

It's typical of what's on offer here, and given Disco's objective is spelled out in its one-word title, Kylie has every reason to celebrate. Considerably truer to the spirit of the genre which gives the record its name than 2018's nonetheless impressive Golden was to the country music, which inspired its Nashville writing sessions, it does to pop what Daft punk's Discovery did to dance, adding a once loved, later lampooned sound to contemporary chart ingredients, making it mainstream yet again.

Kylie is far from the first to do this - one thinks of Spiller's massive 2000 hit Groovejet (If This Ain't Love), not to mention her own Light Years album the same year - but she's thoroughly convincing, and that's what matters. Indeed, she's a hard taskmistress, her desire for merrymaking unsated. Two songs after Last Chance, she asks Where Does The DG Go "when the party's over at night", and one tune later, on Dancefloor Darling, she informs us that "the night ain't even over" and she's planning to "dance all night". As if to test her, the song speeds up to its climax. For further proof of commitment, moreover Disco's perfect finale, Celebrate You, insists that "the night is still young". She's quite the hedonist nowadays, in other words.

Admittedly, her heavily filtered and autotuned vocals can be a little vexing - opener Magic's chorus, where she actually sounds human, outshines its verses - and some may find Magic's urge to tick every one of the era's production boxes contrived rather than precision engineered. But Monday Blues will send you skipping into the office - if we ever go to the office again - and Supernova adds Starship Trooper glamour while Unstoppable's Philly strings ensures it fulfills its nominal promise and Real Groove adds slick but taut R&B. You might not remember all of this afterwards, but that's the sign of a good party, and Disco guarantees a grand old time.

[KEY9481]

[GreekGeek]

^I didn't manage to grab one...

[Mikerocha]

I got one on amazon UK but had to ship it to a friend’s house in the UK

and then message him “you getting something for me. Keep it safe!”

[KEY9481]

She filmed a performance for BBC Radio 1's Live Lounge
https://www.dailymail.co.uk/tvshowbi...e-Radio-1.html
omg Kylie on Radio 1, never thought this would happen ever again