music band Kraftwerk. "Can't Get You Out of My Head" is about an obsession with an unknown person, who according to The Guardian'''s Dorian Lansky could be "a partner, an evasive one-night stand or someone who doesn't know [the song's narrator] exists". Writing for the same newspaper, Everett True identified a "darker element" in the simple lyrics and said this sentiment is echoed in Minogue's restrained vocals. True also said while Minogue's earlier work presented an optimistic romantic future, "Can't Get You Out of My Head" focuses on an unhealthy and potentially destructive obsession. He noted in her earlier songs, Minogue played "the wide-eyed ingénue with alacrity" but that in this track, she is aware of the harmful nature of her infatuation, which True called a "desire that is wholly dependent on her own self-control". In 2012, Minogue re-recorded "Can't Get You Out of My Head" for her orchestral compilation album The Abbey Road Sessions. The 2012 version of the song has an altered musical arrangement and uses a pizzicato playing technique in which the strings of a string instrument are continuously plucked. Critical reception Chris True of AllMusic picked "Can't Get You Out of My Head" as a highlight of Fever, saying it "pulses and grooves like no other she's recorded". Entertainment Weeklys Jim Farber said the song "fully lives up to its title" and compared it to the music of American singer Andrea True. PopMatters Jason Thompson described Minogue's vocals as a "sexual come on" and called the song "trim and funky". Dominique Leone of Pitchfork wrote that the song "exudes a catchiness that belies its inherent simplicity, so reassuring during an era when chart acts sound increasingly baroque and producers race to see who can ape electronic music trends first". In 2012, The Guardian critic Everett True defined "Can't Get You Out of My Head" as "one of those rare moments in pop: sleek and chic and stylish and damnably danceable, but with a darker element hidden in plain sight". In a 2014 retrospective review, Billboards Jason Lipshutz praised Minogue's vocals and said they complement the production, and that; "her voice operates alongside it, finding renewed power in its drive". Olive Pometsey of GQ deemed it "the sound of the noughties", highlighting the synthesisers that create "a moment of pure pop perfection". Writing for the Herald Sun, Cameron Adams placed "Can't Get You Out of My Head"