In an interview with Estadão, the 55-year-old singer, who is releasing the album ‘Tension’, says that music has taken her into the big bubbles of the Internet and that, contrary to what it might seem in the album, she does not use the Autotune program to change the voice
There is some magic that prevents Kylie Minogue of becoming hostage of an era, of a sound, of an image. She is 55 years old, 1.52m tall, she is Australian from Melbourne and has a good enough CV, with her 15 albums released so far, to be seen, as well as Madonna unfortunately it has become a bygone product of industrial pop. But this magic always makes us see Kylie as something that just happened, and her new album, Voltageit just happened.
There is a certain spirit of revision, a revision of oneself, in the album’s collection of songs. Each of them seems to refer to a phase of her career, and to the singer herself, in an interview Estadao, agree with this. “Yes, it’s true. The references to the 80s have arrived, for example, in the music Things we do for love it’s at You still get me high. I can tell Padam Padam It’s very 2000s… There are some ‘space’ influences and then something from 2010 arrives, like in music Baby, once again.”
Padam Padam, The album’s first single was explosive, the perfect announcement of a triumphant return. But the album, with its not always assertive breaks in linearity, does not always withstand this wave. It does not matter. Padam Padam not only did it heat up the turbines of a plane built in the 1980s, but it also broke the wind barrier and put the singer on TikTok.
He says: “I was in Los Angeles meeting with a group of journalists and streaming executives when three people from TikTok approached me. They said, ‘Hi, nice to meet you.’ After we took photos and left went, I said, “Oh, I don’t think I’m cut out to get on TikTok, no.” And one of the people reaffirmed, “Yeah, I understand, it’s not something everyone can get into or understand.”
Just when I thought I didn’t fit into this world, it’s happening. And I can honestly say now: ‘I know! I’m in it now. I didn’t know how to access it before, but Padam Padam everything changed.’
And he also displayed a highly tuned, tinny, robotic voice: three clear symptoms of using Autotune, a computer program created to tune people for the sake of hitting goalposts. Used to the limit, it produces a kind of android voice that has become a trademark of the 1920s, and the business is so serious that everyone from the rapper to the country artist in Brazil is learning to sing like they use Autotune. It would be nice to know from the source himself, then, what he thinks of Autotune. Wouldn’t that turn all the voices into one?
Kylie reacts by saying she doesn’t use Autotune: “I sing everything, with my real voice. I can’t sing with Autotune. My brain doesn’t understand, because I started singing long before this kind of resource existed. So, there are different songs with some effects, but I don’t agree when you say that I use Autotune a lot, because I learned to sing that way. I know how to do the technique, I know how to imitate the sound of Autotune.” She says: “I’ve been on several recording sessions where I’ve seen people singing out of tune using Autotune and also people surprised to see me recording in tune using my voice, as if that wasn’t possible without Autotune. I think that’s really crazy.”
There was a directive to journalists accredited for the interview with the singer, broadcast by Kylie’s production team: “She doesn’t talk about ageism or breast cancer.” A way to try to protect her from thematic approaches to two themes that were once central to her life. Almost 20 years ago she was diagnosed with breast cancer, treated with chemotherapy and duly eliminated. As for his questions about her 55 years spent in a place where life seems to end at 25, her curiosities only grow. “Yes, the relationship with the new generations today is completely different, but now there are many more possibilities. I think this challenge is brilliant.”
And so, more than 40 years after the beginning of one’s career, how to be oneself in a world that sees, on the one hand, Spotify imposing new compositional models and, on the other, thousands of fans waiting for something linked to their emotional past. “It’s difficult, and I have such a huge audience… And fans like different things. Some want electronic beats, some want emotional songs and some want ballads. The saying is right that you can’t please everyone all the time. I try to do I do my best, I do my best. But I can only be myself when I think the more fans can fully understand my work, the better.”
Source: Terra
Earl Johnson is a music writer at Gossipify, known for his in-depth analysis and unique perspective on the industry. A graduate of USC with a degree in Music, he brings years of experience and passion to his writing. He covers the latest releases and trends, always on the lookout for the next big thing in music.
