Sep 17, 2026 · 54 min · 13 segments
Twenty‑five years after Kylie Minogue dropped the hypnotic, era‑defining *Can’t Get You Out of My Head*, the song still pulses through clubs, stadiums, and the collective memory of pop fans…
Really, the song was quite wild and quite organic, the whole process for that one.
We just started off with Rob playing some guitar chords and I came up with a melody.
At the time I'd been writing for some other much poppier artists and it was really cathartic release to do a session like that where both writers are really happy to just kind of let it happen.
because a lot of writers are very controlling.
We were writing a dance song, we knew that.
And so there are a few constraints within that, as in, you know, the pace of it and the feel of it.
But I did feel like we were trying to do something different with dance music.
When you're writing music, there are triggers, and they're not obvious triggers.
They can re-censor a memory, and somehow the Kraftwerk thing kind of came into my head, and that was a line on the keyboard that goes...
So the sound of it and the line were definitely inspired by my love of Kraftwerk.
And I normally find during the restroom breaks that they're a big part of the creative process because I've totally detached at that point.
But I remember going to the restroom and that was where I came back and started doing the La La.
So that was from another wee break.
But I remember being very pleased with what we'd come out with, although it seemed like it was such an odd song that I couldn't imagine it being a pop song really.
It just didn't sound like anything else.
I feel like, to be honest, Kainé's whole career has been one giant experiment, and this was back in the lab again.
And when I saw the video, I just began to think, this is kind of like the final piece in the puzzle.
What do you think? Was this the pinnacle of her career so far? It's certainly the darling track of cover artists all over the world.
Yes, and it's so infectious that musical experts even go to great lengths to explain how it became such a smash.
OK, so we're going to put this in and we're going to start off with that first sequence, which is basically going from the D, D minor 7 to the A minor 9.
And it's going to be all on the offbeat.
So let's record it in.
So I'm gonna duplicate that down to the first four scenes.
So if we just play that, I'm just gonna mute the drums and I'll just unmute that track.
Really, the song was quite wild and quite organic, the whole process for that one.
We just started off with Rob playing some guitar chords and I came up with a melody.
At the time I'd been writing for some other much poppier artists and it was really cathartic release to do a session like that where both writers are really happy to just kind of let it happen.
because a lot of writers are very controlling.
We were writing a dance song, we knew that.
And so there are a few constraints within that, as in, you know, the pace of it and the feel of it.
But I did feel like we were trying to do something different with dance music.
When you're writing music, there are triggers, and they're not obvious triggers.
They can re-censor a memory, and somehow the Kraftwerk thing kind of came into my head, and that was a line on the keyboard that goes...
So the sound of it and the line were definitely inspired by my love of Kraftwerk.
And I normally find during the restroom breaks that they're a big part of the creative process because I've totally detached at that point.
But I remember going to the restroom and that was where I came back and started doing the La La.
So that was from another wee break.
But I remember being very pleased with what we'd come out with, although it seemed like it was such an odd song that I couldn't imagine it being a pop song really.
It just didn't sound like anything else.
I feel like, to be honest, Kainé's whole career has been one giant experiment, and this was back in the lab again.
And when I saw the video, I just began to think, this is kind of like the final piece in the puzzle.
What do you think? Was this the pinnacle of her career so far? It's certainly the darling track of cover artists all over the world.
Yes, and it's so infectious that musical experts even go to great lengths to explain how it became such a smash.
OK, so we're going to put this in and we're going to start off with that first sequence, which is basically going from the D, D minor 7 to the A minor 9.
And it's going to be all on the offbeat.
So let's record it in.
So I'm gonna duplicate that down to the first four scenes.
So if we just play that, I'm just gonna mute the drums and I'll just unmute that track.
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