The eleventh studio album from the Australian pop queen is a light and easygoing dance-pop record. But while there are one or two tracks that may encourage you to get out and boogie, for the most part it retreads old ground with little passion or fervour.
The return of Kylie Minogue was greeted with such anticipation that fans actually crashed the Aussie icon's website as she attempted to announce the follow up to 2007's X. Working with renowned pop producer Stuart Price and a host of guest writers and producers, Kylie creates an electronic dance pop vibe that harks back to her heyday, while still retaining a modern, sophisticated finish. But this shiny production style leaves all but a few of these songs sounding flat, often trundling aimlessly with little by way of depth or personality.
Of course, there are a few exceptions. Co-written with Calvin Harris and Scissor Sister Jake Shears, the solid rhythm and buzzing synths of 'Too Much' create a club vibe that would have made it a much stronger lead single than the bland 'All The Lovers'. Elsewhere, the combination of dance beats, underpinning guitars and a catchy melody make 'Cupid Boy' easily the best song here, despite its sped up, ever so slightly chipmunkified vocals.
Kylie has always been a likeable figure in pop music, carving out an enduring career with the ability to reinvent herself at every step. No doubt her effortless grace and warm demeanour will convince fans there's more to Aphrodite than just a lot of filler. There isn't.
