Editing Impossible Princess (section)

==Recording and development==
[[File:Real World Studios.jpg|thumb|230px|left|alt=Photograph of the studio used at Real World Studios | Production of ''Impossible Princess'' took place mainly at [[Real World Studios]] (''pictured in 2013'') in [[Box, Wiltshire]]]]
Plans for ''Impossible Princess'' began in mid-1995 after meetings with Brothers in Rhythm had taken place and recording the album began.<ref name="naked96">{{harvnb|Goodall|Stanley-Clarke|2012|p=96}}</ref> By June 1997, the album had been in production for twenty-one months, and Deconstruction were adding the final touches to it.<ref name="naked100">{{harvnb|Goodall|Stanley-Clarke|2012|p=100}}</ref> The album took nearly two years to record—the longest period Minogue had worked on a project since her time acting on the Australian soap opera ''[[Neighbours]]'' (from 1986 to 1988).<ref>{{harvnb|Malins|1997}}; {{harvnb|Deconstruction|1997a|ps=, track 1}}</ref> Many changes of direction, remixes and cowriters lengthened the process which at times upset and infuriated Minogue.<ref>{{harvnb|Goodall|Stanley-Clarke|2012|p=100}}; {{harvnb|Deconstruction|1997a|ps=, track 1}}</ref> Brothers in Rhythm member [[Steve Anderson (musician)|Steve Anderson]] explained this was "due to the pure perfectionism" of everyone involved; Minogue felt the album was worth the wait.<ref>{{harvnb|Rees|1999}}; {{harvnb|Deconstruction|1997a|ps=, track 1}}</ref>

Minogue's trips with Sednaoui, her Deconstruction label mates, and clients of Sednaoui's work including [[Björk]], [[Garbage (band)|Garbage]], and [[Tricky (musician)|Tricky]] inspired the album.<ref name="classic48">{{harvnb|Flynn|2019|ps=: "Classic Album: ''Impossible Princess''" by Lindores, Mark|page=48}}</ref> Sednaoui and Cave were key factors during the production. In the biography ''Kylie'' (2014), Sean Smith notes Sednaoui had a huge effect on Minogue's belief in herself and contributed to her vision of the future, while Cave helped her to embrace the past.<ref>{{harvnb|Smith|2014|page=133–134}}</ref> Minogue began writing lyrics after Sednaoui and Cave convinced her to take creative control over her next musical project.<ref name="vogue118">{{harvnb|Walsh|1997|loc= [https://web.archive.org/web/20190526120437/http://www.marionhume.com/wp-content/uploads/2013/08/Kylie-Minogue-Australian-Vogue1.jpg p.118]}}</ref> She wrote every track on the album—in contrast, she co-wrote only one song on her 1994 studio album.<ref name="ReferenceA">{{harvnb|Mushroom|1998d}}; {{harvnb|Flynn|2019|ps=: "Classic Album: ''Impossible Princess''" by Lindores, Mark|page=48}}</ref>  She did not have any specific method for writing: she wrote constantly in her notebook and composed many songs during the holidays.<ref>{{harvnb|Deconstruction|1997a|ps=, tracks 1, 3}}</ref> "Cowboy Style" and "Dreams" were among the earliest songs Minogue wrote for the album; the lyrics and melodies came easily to her.<ref>{{harvnb|Deconstruction|1997a|ps=, tracks 6, 13, 29}}</ref> Minogue imagined performing "[[Too Far]]" while working on its lyrics, which she did at a local cafe.<ref>{{harvnb|Rees|1999}}; {{harvnb|Deconstruction|1997a|ps=, tracks 3, 28}}</ref> She found the track easy to write and did not sound like anything she had written before.<ref name="interview28">{{harvnb|Deconstruction|1997a|ps=, track 28}}</ref> She wanted to put herself into the album as much as possible, and felt the songs were more personal: "I've written lyrics before, but they've been safe–just neatly rhymed words and that's that. Now I have songs in which, from beginning to end, I don't want another word, I don't want a word removed," Minogue said.<ref>{{harvnb|Walsh|1997|loc= p. [https://web.archive.org/web/20190526120437/http://www.marionhume.com/wp-content/uploads/2013/08/Kylie-Minogue-Australian-Vogue1.jpg 118], [https://web.archive.org/web/20190526132039/http://www.marionhume.com/wp-content/uploads/2013/08/Kylie-Minogue-Australian-Vogue3.jpg 122]}}</ref>

===Sessions with Brothers in Rhythm===
Brothers in Rhythm put together a few songs initially planned for ''Impossible Princess'' but scrapped them because Minogue had started writing and they saw she had development as an artist.<ref name="BiR"/> In order to work closely with Brothers in Rhythm, Minogue shared a house with them across the road from the [[Real World Studios]] in [[Box, Wiltshire]], where each morning she would present a set of lyrics from the night before to Brothers in Rhythm producer [[Dave Seaman]].<ref name="Smith134">{{harvnb|Smith|2014|page=134}}</ref> Minogue then sang her ideas for the melody to the duo who tried to compose the backing tracks, find a suitable style, record rough demos, and add subtle lyric and melody ideas to each of them.<ref name="BiR">{{harvnb|Rees|1999}}; {{harvnb|Deconstruction|1997a|ps=, track 3}}</ref> Production took place mainly at Real World, where the rough demos were rearranged.<ref name="BiR"/> Strings were added at [[Sarm West Studios]] in London, and the tracks were then sent back to Real World for the final mixes, handled by engineer Alan Bremner.<ref>{{harvnb|Rees|1999}}; {{harvnb|Mushroom|1998d}}; {{harvnb|Flynn|2019|ps=: "Non-Stop Dancing" by Hurley, Oliver|page=38}}</ref>

From those sessions, Brothers in Rhythm developed five more songs that ended up on the final tracklist: "[[Did It Again (Kylie Minogue song)|Did It Again]]", "Limbo", "Dreams", "Say Hey", and "[[Cowboy Style]]".<ref>{{harvnb|Mushroom|1998d}}; {{harvnb|Smith|2014|page=135}}</ref> "Too Far" was written at Sarm West, where Anderson came up with the piano line on the final version.<ref name="classic38">{{harvnb|Flynn|2019|ps=: "Non-Stop Dancing" by Hurley, Oliver|page=38}}</ref> According to Anderson, the production grew as the song was created, and many ideas on the demos made it onto the finished tracks.<ref name="BiR"/> "Limbo", "Too Far", "Did It Again" and "Cowboy Style", were released in their original demo form because Minogue felt the rawness of the tracks worked better than being polished.<ref>{{harvnb|Deconstruction|1997a|ps=, track 37}}; {{harvnb|Flynn|2019|ps=: "Classic Album: ''Impossible Princess''" by Lindores, Mark|page=48}}</ref> Anderson considered "Too Far" and "Drunk" to be the examples of Minogue's artistic progression, and her poetry lyrics were different from standard pop song structure.<ref>{{harvnb|Rees|1999}}; {{harvnb|Flynn|2019|ps=: "Non-Stop Dancing" by Hurley, Oliver|page=38}}</ref> Pete Hadfield, the label's director, was ill, leaving Minogue to take partial creative control over the project.<ref name="record1">{{harvnb|Flynn|2019|ps=: "Classic Album: ''Impossible Princess''" by Lindores, Mark|page=48}}; {{harvnb|Smith|2014|page=135}}</ref> To help produce the album, she attended each session with Anderson and Seaman to learn about composing, arranging instruments, and distorting sections of the album's tracks.<ref name="interview7">{{harvnb|Deconstruction|1997a|ps=, track 7}}</ref> As a result, she is credited as a co-producer with Brothers in Rhythm on the songs "Too Far", "Breathe", and "Say Hey"; she played the [[synthesizer]] and provided backing vocals.<ref name="linernotes"/>

===Other collaborations===
[[File:James Dean Bradfield 2014.jpg|thumb|upright|alt=Photograph of James Dean Bradfield singing into a mic while playing an acoustic guitar | [[James Dean Bradfield]] (''pictured in 2014'') wrote and produced two tracks with Minogue]]
Deconstruction encouraged Minogue to work with other artists, besides her sessions with Brothers in Rhythm, to produce enough potential tracks to release as singles.<ref name="record1"/> Like she had done on her 1994 album, Minogue was open to the idea of experimenting her sounds with different producers.<ref>{{harvnb|Smith|2014|page=133}}; {{harvnb|Deconstruction|1997a|ps=, tracks 2, 8}}</ref> She wrote "Through The Years", "Breathe", and "Limbo" during her sessions with the electronic producers [[David Ball (electronic musician)|Dave Ball]] and Ingo Vauk at their home studios; Minogue wrote the lyrics to "Through the Years" within 10 minutes of hearing Ball and Vauk's track.<ref name="interview3">{{harvnb|Deconstruction|1997a|ps=, track 3}}</ref> Minogue had heard of [[Rob Dougan]]'s work and thought that it would be interesting to work with him; they wrote and produced "Jump".<ref name="interview5"/> She worked on two songs with English band [[Olive (band)|Olive]], but they were scrapped.<ref name="interview5">{{harvnb|Deconstruction|1997a|ps=, track 5}}</ref> Cave wrote a track for the album based on Minogue's lyrics, entitled "Soon", but she was disappointed with her recording and dropped it.<ref name="cavesoon">{{harvnb|Goodall|Stanley-Clarke|2012|p=100}}; {{harvnb|Malins|1997}}</ref>

Minogue said that [[James Dean Bradfield]] of Manic Street Preachers had a clear idea of how he wanted her to sound during their first session at his home.<ref>{{harvnb|Deconstruction|1997a|ps=, track 4}}; {{harvnb|Smith|2014|page=137}}</ref> Minogue found it difficult to re-write Bradfield's demo of "I Don't Need Anyone", so he had taken pieces of the original demo lyrics and mixed them with other lyrics she had written, with help from [[Nicky Wire]], to create the finished version of "I Don't Need Anyone".<ref>{{harvnb|Mushroom|1998d}}; {{harvnb|Deconstruction|1997a|ps=, track 35}}</ref> She found this method of writing interesting and did it again with Bradfield and [[Sean Moore (musician)|Sean Moore]] on "Some Kind of Bliss".<ref name="bradfieldref">{{harvnb|Deconstruction|1997a|ps=, track 30}}; {{harvnb|Mushroom|1998d}}; {{harvnb|Smith|2014|page=138}}</ref> She felt the lyrics worked together, and was pleased with the final result.<ref name="bradfieldref"/> Bradfield and frequent collaborator [[Dave Eringa]] produced both tracks.<ref name="linernotes"/>