Eleven albums in, you’re either aboard the Kylie train or you’re not.
Despite the usual industry noise about this potentially being the Australian pop pixie’s long-anticipated North American breakthrough, Aphrodite doesn’t really bother to offer us anything more than that which already delights the converted. Executive producer Stuart Price — who gave Madonna her last shot at disco glory on Confessions on a Dancefloor and just helmed the new Scissor Sisters album — obviously knows his subject, her vocal limitations and her doting audience well and lets her play to her main strength here: huge, glistening cyber-disco anthems that bring out the little gay man in all of us.