The beats have been amped up a bit more since “Aphrodite,” but that seems logical given the EDM direction and her flirtation with dubstep in last year’s “Skirt.” But it still falls into the dance-pop she’s known for.
That said, similar to “All I See” on X, there’s a bit of an Americanized direction to many of the tracks, and on that level many of them feel like they’re missing a bit of something. The first four tracks of the album start off well, but then things get a bit more shaky. “Sexercise” feels like a watered down derivative of dubstep and an inferior effort to “Skirt,” while “Feels So Good” and “If Only” doesn’t rank in her best slower songs.
“Les Sex” uses the dubstep feel a bit better, but it still feels a bit generic. “Beautiful” feels like an Imogen Heap knockoff. There’s some good stuff to work with, and some of it may grow on me, but while this feels cohesive, it’s not as distinct as some of her other recent albums, and not as much jumps out as in previous outings.
It was at about this point in her career that Madonna released “Confessions on a Dance Floor,” which was the first time I noted that she may have played it safe. I don’t know if I’d call that what Kylie did here, but this does feel like a move to make her fit in more in America, and if she couldn’t break through in any meaningful way a decade earlier in the aftermath of “Can’t Get You Out of My Head,” I’m not sure this is going to do the job.