One of mainstream pop’s true survivors, Australia’s national treasure Kylie Minogue continues to celebrate her impressive 25-year career by reworking 15 of her most cherished tracks with the help of a full orchestra at the world-famous Abbey Road studios. Not only does this stripped-back concept allow Minogue’s under-rated seductive vocals to shine but it also places greater emphasis on her lyrical content, which of course was understandably neglected when surrounded by Stock, Aitken and Waterman’s relentlessly shiny happy production.

Her early bubblegum pop output doesn’t always hold up under such scrutiny. Despite her best efforts, it was always going to be an impossible task trying to inject some convincing emotion into the sickly-sweet tale of unrequited teenage love that is “I Should Be So Lucky,” [LISTEN] adapted here as a string-soaked torch song:

In my imagination
There is no complication
I dream about you all the time
In my mind a celebration
The sweetest of sensation
Thinking you could be mine

But there’s a genuine poignancy about her refusal to accept that things are over on “Hand On Your Heart,” which cleverly throws a nod to Jose Gonzales’ heart-warming acoustic cover. Whilst apparently inspired by her relationship with Michael Hutchence, the elegant Bacharach-esque lounge-pop retooling of “Better The Devil You Know” makes you realise just how utterly infatuated she was with the rock star who led her astray. But after jumping the SAW ship, Kylie became more adventurous, teasing her lover over the power she now holds on career best “Confide In Me,” transformed here into an equally bewitching trip-hop number reminiscent of Massive Attack, and in a huge curveball, playing the victim to Nick Cave’s killer on the chilling murder ballad, “Where The Wild Roses Grow.”

Spearheaded by the glorious “Can’t Get You Out Of My Head,” [LISTEN] here given a Bond theme-style makeover, her triumphant 00s comeback saw her fully embrace her sexual appeal, whether whispering sweet nothings on “Slow” [LISTEN] or basking in the euphoria of lust on “All The Lovers.” [LISTEN]. But now in her mid 40s, there are signs that she’s now aiming to pack the same emotional punch as Adele. Penned whilst undergoing treatment for breast cancer, the gorgeous orchestral lullaby and sole new composition, “Flower,” [LISTEN] is a heart-breaking lament to the child she may never have which leaves you wishing she’d let her guard down more often:

Wrapped in a blanket of hope
Asleep in the of dreams
My step into eternity was not what it might have been
Or not at all
For who knows which way the wind is gonna blow
I’m waiting for your gentle whisper 

Even those who have worshipped at the altar of Kylie since her overall-wearing mechanic days on Neighbours would admit that her voice has never been her greatest asset. But these tasteful and often majestic reinventions prove that her ‘Singing Budgie’ tag is now completely wide of the mark.