 Fever is considered to be a prominent example of Minogue 's constant " reinventions " . The image she adopted during this period was described by Baker as " slick , minimalist and postmodern " , and it was seen as a step forward from the " camp @-@ infused " tone of Light Years . Larissa Dubecki from The Age used the term " nu @-@ disco diva " to describe Minogue during this period . Andy Battaglia from The A.V. Club opined that Minogue 's public image and her persona in her music videos " presented herself as a mechanical muse whose every gesture snapped and locked into place with the sound of a vacuum seal " . He further remarked that the singer 's " hygienic coo summoned a cool sort of cyborg soul , and her videos showed her gliding through sleek <unk> , tonguing the sweet @-@ and @-@ sour tang of a techno kiss " . Adrien Begrand from PopMatters felt that the simplicity of the album made it a " classy piece of work " and commented that Minogue 's experience and choice of collaborators resulted in " the thirtysomething Minogue upstaging soulless , brainless music by younger American pop tarts like Britney [ Spears ] and Christina [ Aguilera ] " . Robbie Daw from Idolator pointed out that Britney Spear 's recording of her 2004 hit " Toxic " , Madonna 's comeback album Confessions on a Dance Floor ( 2005 ) , Paris Hilton 's musical debut Paris ( 2006 ) , and radio stations ' shift towards playing " more groove @-@ oriented sounds " all followed the release of Fever , although he admitted that " we have no way of knowing whether Kylie Minogue 's eighth studio album was directly responsible for these pop happenings " . Chris True from AllMusic , in his biography of Minogue , commented that the release of the album and lead single " Can 't Get You Out of My Head " cemented her position as an international music icon , saying " Her place in pop music history would be consolidated in 2001 , and she would be reintroduced to America after more than a decade as well " . 
