Kylie Minogue

Week 50: Kylie: Christmas (Fully Wrapped) 2025 Edition

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WAHEY! It’s Christmas! Where most people are cheerful, and that is very infectious. Anyway, it is no surprise that a Christmas album sits atop of the chart. Usually, Michael Bublé does. At the moment, it is Kylie with an expanded edition of her 2015 record “Christmas (Fully Wrapped)”. The new edition is Kylie stamping her style over new songs and covers. We have effortless vocals that are both warm and playful.

Let’s look at some highlights from the album. I have excluded ’Santa Baby’ and ‘Let it Snow’. I will explain my reasoning in due course:

It’s the Most Wonderful Time of the Year:


As you will discover, most of the songs are like supernovas. Mainly the covers, because they were written in a time when radio plays were extremely short. Kylie does this justice, delivering an upbeat, polished, celebratory tone without going too cheesy.

XMAS:

I guarantee that if you have been near a radio. You would have heard this new track, as it is being played to death, and with good reason, too. Rhythmic, quintessentially Kylie, that blends her modern pop sound into a Christmas theme with ease. This one will be on a future Christmas compilation; it is that good.

Hot in December:


Another new addition, and another standout alongside the previous one. Cheeky, playful, and of course, Kylie stamped. Not your usual Christmas track. I thought the title hinted at the weather in her native Australia during this period, but the lyrics talk about being free and flirting.

At Christmas:


Time for a reflective and tender refrain. Her vocals really sell the story.


Santa Claus Is Coming to Town ft. Frank Sinatra:


I was uneasy seeing that the late Frank Sinatra was included as it can often disrespect the memory, but this felt tasteful. Of course, Kylie’s vocals were exemplary.

This Time of Year:


Another new track, warm and gentle. Another refrain from the upbeat tempo.

100 Degrees ft Dannii Minogue:


The chemistry between the sisters is a sound to behold. You might think there might be a sense of bitter rivalry, but this disco-inspired track is delightful. The sisters give the album a colourful array of fireworks. 



Office Party:


Another favourite of mine. A silly, fun, and light track. The title says it all. If you know the chaos at the office Christmas party, you will know.

White December:


Melancholic and unmistakably wintry. 



Christmas Isn’t Christmas ’Til You Get Here:


An intimate and heartfelt track. Again. Kylie’s vocals shine.



Have Yourself a Merry Little Christmas:


Restrained yet elegant vocals, and that cozy feeling of being by a logfire with mulled wine.



Now, earlier I mentioned why I do not like ’Santa Baby’ and ‘Let it Snow’, and now I will explain my reasoning as to why the record works without them:

More mature

There is no novelty fatigue

Flows better

Showcases more of Kylie’s artistry

Why? Because there is a better balance between playfulness, tasteful covers, and modern originals that serve a purpose rather than overloading the album.

Encore:


What a sublime listen this was. I much prefer this to the original released ten years ago. The record doesn’t have its polished sound when it gets playful, remains stylish, and has that Christmas feel without going over the top. One of the best Christmas albums I have ever had the pleasure of listening to.

Song recommendations: ‘XMAS’, ‘Office Party’, ‘100 Degrees’


9/10

Week 43: Kylie- TENSION II

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I cannot, for my life, figure out how people are saying this; it sounds totally different from its predecessor. What I am hearing is more of the same. However, “Tension II” is more enhanced with lyrical content. As you know, Kylie has a knack for writing catchy choruses, executed perfectly in ‘Taboo’. ‘Lights Camera Action’ has a touch of Madonna about it. ‘Diamonds’ features the co-leader of the Scissor Sisters, Jake Shears, and it has that kind of pop music you would associate with Jake.

Returning to an earlier comment, if you disagree with me that the record is not a continuation of the previous album, I will say that there are more songs on this that will hit the charts and become crowd favourites. It also sums up Kylie’s ability to make great pop. You will hear that over the first 11 tracks and then encounter two tracks that appear for god knows what reason. They do not fit with the flow of it. One track with Orville Peck is country/disco/pop but at a plodding tempo, and the other track features fellow Australian Sia, which, to be honest, isn’t that good.

‘Hello’ is also another track that doesn’t have much going on. ‘Good as Gone’ is a good song, but unfortunately, it has quite surprisingly a weak chorus. Despite what some critics have said, the production overall doesn’t alter that much from its predecessor. I am not knocking it, far from it. I enjoyed “Tension” for its disco vibe, and therefore, I enjoyed its successor. ‘Kiss Bang Bang’ sounds exactly like ‘Padam Padam’, but I seemed to enjoy ‘Kiss Bang Bang’ much more.

Song recommendations: ‘Kiss Bang Bang’, ‘Lights Camera Action’, ‘Diamonds’

7/10

Week 46: Kylie Minogue- DISCO

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How ironic that in such a fucked up year, Kylie releases an album choc-full of disco and funk songs? We can’t go out to clubs, attend parties or wedding receptions to dance with one another to these uplifting tracks. That’s quite sad, and I’m sure Kylie would prefer we were all doing that rather than sitting on our arses at home before heading out to get food or go to work. I should have started with an introduction to Kylie Minogue, as this is my first review of her material. This is her fifteenth album over a career spanned almost four decades. 

Talking of her career spanning almost four decades, this record sounds like music inspired by the 70s and the era she began her career, the 80s. “Say Something” is the leading single, a chance for us all to enjoy each other’s company and start living life again. Most of the album was written during the lockdown, and Kylie used a makeshift studio from home to record and edit her vocals. Indeed, she wrote “Monday Blues” about the struggle of doing that (It can be pretty tricky if you are not used to editing your vocals or even instrumentation, for that matter.)

These songs will be heard at wedding receptions when they are allowed to be permitted again. Especially “Supernova” and “Where Did the DJ Go?” are inspired by Nile Rodgers and Chic. Unfortunately, the album has no memorable content such as “Spinning Around” and “Love at First Sight”, but it sits pretty nicely into the generic Kylie song department. No risks are taken, and Kylie sticks to what she knows is guaranteed to sell rather than getting experimental and surprising us all. 

Another thing refreshing was this record doesn’t particularly have any filler. It is all good, full-on disco/funk. Even the more downtempo tracks like “Last Chance” keep your attention and mood at the same level because it is straight out of pop. Kylie co-wrote this album, and though the songs are mainly uplifting sonically, the lyrics are more melancholic as they talk about the rollercoaster of being in and out of love.

As the record closes, Kylie concentrates on adding a character called Mary in “Celebrate You, ” which is based on all of us when we feel sad and depressed. However, the instrumental is uplifting again, so your mood doesn’t shift despite the melancholy. Another thing that Kylie has mastered is her music. Most of her songs are based around the heartache of a relationship ending, but Kylie takes that element of sadness away with her uplifting instrumentals.

Song recommendations: “Where Did the DJ Go?”, “Supernova”, “Celebrate You”

7/10