Aphrodite finds Kylie Minogue celebrating the dancefloor, addressing recurrent themes of love and sexuality as well as returning to form after the substantial experimentation present in 2007’s X. It also marks Minogue’s second attempt at cracking the North American market since 2001 with the release of Fever.

The album has a very fierce undertone (most blatant in the title track, which interpolates a rock tinge), but throws in subtlety in tracks like ‘Closer’, ‘Everything is Beautiful’ and ‘Illusion’, which give a sense of vulnerability to the record, most shockingly in ‘Too Much’, one of the album’s club thumping moments as she conveys, “I don’t know what we’re going through…It’s too much, the way I feel about you..”. It holds the dichotomy of being fiery yet delicate, conveying ease but at the same time inviting the listener to move, accomplishing versatility yet cohesiveness. Albeit the album is mainly dance-pop, it somehow manages to reflect some sort of emotion without being shallow meaningless pop music but instead coming across as delightful and empowering to a certain extent. It even has an organic feel despite being consistently electro, and allows the piano, violin and cellos to shine in the midst of electrifying beats.

Some of the track breakdowns are quite experimental, which before slowing down faintly, explode aggressively picking up the pace once more, transcending the tracks to another level. What Stuart Price did, record production wise, is just brilliant. Some of the tracks are growers, but this does not hold them from being astounding. ‘Get Outta My Way’ can be considered the new ‘Love at First Sight’ without being ripped off in the slightest, and is a classic in the making.

Surprisingly the skip button is not an option for Aphrodite as all the tracks are enjoyable. It is hard to pick a favorite; each track flows well and each stand on its own. None sound similar nor recycled, common when working with one producer, but on the contrary sounds fresh, energetic, fun and ‘euphoric’ (as Kylie described the album herself). The album is blissful to the core and maintains an indescribable vibe all throughout; it leaves the listener on a high and wanting more after the closing number.

Aphrodite is a cross between Light Years and Fever; it incorporates the heavy retro disco predominant in her 2000 release and the vivacity and flirt of its successor. The influence of two of her best works put into one just equals a certified smash.

The album is one whole unstoppable bouncy mix with impeccable production. The songwriting is neither deep nor poetical (though the clever innuendos between love and the dancefloor itself are worth mentioning), but it does the trick for a fun pop album filled with club stompers and ‘dancey’ midtempos alongside soothing vocals. This is Kylie at her best.