Editing Impossible Princess (section)

==Musical styles==
Musically, ''Impossible Princess'' [[Experimental pop|experiments]] and blends different musical styles, as Minogue wanted the album to reflect her many sides.<ref>{{harvnb|Mangan|1998}}; {{harvnb|''Who''|1998a}}; {{harvnb|Deconstruction|1997a|ps=, track 2}}</ref> It is a departure from her previous sound, encompassing various elements from [[dance music]].<ref>{{harvnb|Malins|1997}}; {{harvnb|Deconstruction|1997a|ps=, track 8}}; {{harvnb|True A}}; {{harvnb|True B}}; {{harvnb|Levine|2010}}</ref> [[Music critics]] commented on the album's musical diversity.<ref>{{harvnb|''Who''|1998a}}; {{harvnb|BSX|2009}}</ref> Marcel Anders of ''[[Orkus]]'', and Nick Levine at [[Digital Spy]] labelled it a dance record, while a writer from ''[[Who (magazine)|Who]]'' magazine wrote the album ranges from [[trip hop]], [[torch songs]] to scratchy guitar pop, and [[disco]] tracks.<ref>{{harvnb|Anders|1997}}; {{harvnb|Levine|2010}}; {{harvnb|''Who''|1998a}}</ref> ''Sputnikmusic'' writers pointed out [[trance music|trance]], [[rock music|rock]], and [[Alternative rock|alternative]] influences, and described the album as "something you would expect Björk to make".<ref>{{harvnb|BSX|2009}}; {{harvnb|Phillips|2015}}</ref> Michael Dwyer of ''[[The West Australian]]'' found the [[electronic dance music|club-oriented]] production made the album standout.<ref name="westaust">{{harvnb|Dwyer|1998}}</ref> Chris True of [[AllMusic]] and Sal Cinquemani of ''[[Slant Magazine]]'' identified the record as part of the [[electronica]] and [[Britpop]] movements that spanned the mid-to-late 1990s.<ref>{{harvnb|True A}}; {{harvnb|Cinquemani|2003}}</ref>

[[File:Guy Barker & Jean Toussaint.jpg|thumb|left|230px|alt=Guy Barker playing trumpet while wearing a suit|English musician [[Guy Barker]] (''pictured in 2007, middle'') played a trumpet solo on "Through the Years"]]
''Impossible Princess'' incorporates live instrumental tracks, such as a trumpet solo by English trumpeter [[Guy Barker]] on "Through the Years".<ref>{{harvnb|Mushroom|1998d}}; {{harvnb|Deconstruction|1997a|ps=, track 9}}</ref> Minogue found this unusual because she was familiar only with the use of synthesizers on her tracks, and considered the album a mixture between synthetics and real instruments.<ref name="interview9">{{harvnb|Deconstruction|1997a|ps=, track 9}}</ref> The album contains several guitar-driven songs, such as "Did It Again" and "I Don't Need Anyone".<ref>{{harvnb|Anders|1997}}; {{harvnb|True A}}; {{harvnb|Smith|2014|page=146}}; {{harvnb|Deconstruction|1997a|ps=, track 35}}</ref> "Did It Again" blends drums and [[electric guitar]], which Smith found similar to the sound of [[The Beatles]]' ''[[Revolver (The Beatles album)|Revolver]]'' (1966).<ref name="Smith146">{{harvnb|Smith|2014|page=146}}</ref> "I Don't Need Anyone" is a [[rock music|rock]] song heavily influenced by [[Middle Eastern music|Middle Eastern beats]].<ref name="diditref">{{harvnb|Flynn|2019|ps=: "Classic Album: ''Impossible Princess''" by Lindores, Mark|page=48}}; {{harvnb|Deconstruction|1997a|ps=, track 31}}</ref> Moore played drums and Bradfield played guitars on the joyful Britpop-style tracks "I Don't Need Anyone" and "Some Kind of Bliss".<ref name="ReferenceA"/> Critics compared the latter track to [[Motown]] music and the work of Manic Street Preachers.<ref>{{harvnb|Levine|2010}}; {{harvnb|Elan|2012}}</ref>

"Cowboy Style" is a [[country music|country]] number that was influenced by [[Celtic music]] and tribal percussion.<ref>{{harvnb|Adams|1998}}; {{harvnb|Cinquemani|2003}}</ref> Ian Phillips of ''Sputnikmusic'' wrote that the orchestral [[pop ballad]] "Dreams" uses a mixture of eerie-sounding strings, booming bass, and drums.<ref name="sputnik2"/> Cinquemani described the chaotic [[drum and bass]] "Too Far" as a blend of crisp breakbeats, a [[Moby]]-style piano progression and lush strings; "Drunk" as a trance song; and "Limbo" as a hybrid between [[rock music|rock]] and [[techno]] in the style of [[The Chemical Brothers]].<ref name="Slant">{{harvnb|Cinquemani|2003}}</ref> "Jump" is a dark trip hop track, while "Say Hey" and "Breathe" are subtle [[Electronic music|electronic]]-infused songs.<ref>{{harvnb|Mangan|1998}}; {{harvnb|Adams|1998}}; {{harvnb|Cinquemani|2003}}; {{harvnb|Levine|2010}}</ref> "Through the Years" contains muted horns, experimental vocal tracks and mournful lyrics; Cinquemani compared it to Björk's 1993 single "[[Venus as a Boy]]".<ref name="Slant"/>

The record's vocals feature segments of [[spoken word]] and [[rapping]], alongside whispering and singing.<ref>{{harvnb|Mushroom|1998d}}; {{harvnb|BSX|2009}}</ref> John Mangan of Australia's ''[[The Age]]'' newspaper felt the songs were tailored-made for her voice.<ref name="britsoap"/> A writer from ''Who'' noted Minogue was developing her own voice on the album, saying she is "whispering breathlessly one moment, shrieking like a young [[Sinéad O'Connor]] the next".<ref name="whoweeklya">{{harvnb|''Who''|1998a}}</ref> Another writer from the same publication felt that Minogue "never sounded more human", with many songs showcasing her unique phrasing.<ref name="whoweeklyb">{{harvnb|''Who''|1998b}}</ref> In the biography ''Kylie: Naked'' (2012), Nigel Goodall and Jenny Stanley-Clarke likened Minogue's vocals to those of [[Tori Amos]], Björk, Sinéad O'Connor, [[Kate Bush]] and [[Madonna (entertainer)|Madonna]].<ref name="naked100"/> Cinquemani and Dwyer also compared Minogue's seductive delivery to Madonna, and described her vocals as a "sexy [and] reliable secret weapon".<ref>{{harvnb|Cinquemani|2003}}; {{harvnb|Dwyer|1998}}</ref> Larry Flick of ''[[Billboard (magazine)|Billboard]]'' commented that Minogue had dropped the pitch-perfect vocals and let her "odd noises flow freely" on the album.<ref name="Billboard"/>