christine and the queens: chris reviewjoe's original dartmouth menu

And ‘Goya Soda’ headily combines spluttering bursts of synth with a flash-lesson in art history, blending Francisco Goya’s twisted, demon-filled paintings with fizzy pop and doomed lust. Get it right, Chris implies, and it can still be powerful.From a forthcoming remix album, Kelela’s homage to hazy old R&B slow jams is ratcheted up to various levels of intensity by guest rappers Princess Nokia, Junglepussy, CupcakKe and Ms Boogie. This is a deft and mind-bogglingly intelligent record – a subversive pop masterpiece – that somehow sounds effortless, tooThe world's defining voice in music and pop culture since 1952. All rights reserved. The new album from Héloïse Letissier’s Christine and the Queens has something the 80,000 '80s imitators don’t: a killer persona, in the titular Chris. © 2020 NME is a member of the media division of It’s the shadowy flip-side to its predecessor. Nabbing aspects of homoeroticism from all things hyper-masculine, ‘Chris’ pays little mind to conformity. Christine and the Queens – ‘Chris’ album review This is a deft and mind-bogglingly intelligent record – a subversive pop masterpiece – that somehow sounds effortless, too 5 © 2020 Guardian News & Media Limited or its affiliated companies. On the evidence of ‘Chris’ – a deft and bogglingly-intelligent record, which somehow sounds blissfully effortless too – she’s earned her own place in the pop icon history books. The melancholy ‘What’s-her-face’ harks back to the insults that stained Christine and the Queens so frequently in the past; the track recalls playgrounds taunts and laments “Following in the formidable footsteps of Madonna, Michael Jackson, Prince, Bowie, and other such icons of creative evolution, Christine and the Queens is clearly striving to be a similar sort of chameleon-like artist, riveted on challenging both herself and her audience. Or rather, about a belief in pop music as something more than ephemeral – as a vehicle for ideas, a space in which you can transform yourself – in an era when pop is supposed to have lost its longstanding hold over its audience, when it’s not supposed to amount to much more than a pleasant soundtrack or minor distraction. You don’t need to see her dancing to work out that Letissier is a fan of It is an album about pop music as much as any of the other topics it addresses. Flecked with generous amounts of provocative Spanish (it’s fair to say Duolingo won’t teach you a phrase like “para follarse”), ‘Damn (What Must A Woman Do)’ is particularly bold, with gasped whispers punctuating cartoonish, ‘Dangerous’-by-Michael-Jackson production. There’s very little ambiguity when it comes to ‘Comme si’ (That’s not to say that ‘Chris’ simply gets its sonic rocks off (though, admittedly, that’s a large part of the appeal). A swaggering masculine alter-ego delivers Letissier’s punchy statement of intent, wrapping themes from gender fluidity to female agency in heady electronic pop It sets the tone for the rest of the album. A t the close of 2016, it was announced that Christine and the Queens’ Chaleur Humaine was the UK’s biggest-selling debut album of the year. There’s a tendency to write about But the furrowed-brow response doesn’t communicate what an unalloyed joy her music is: how it never seems like hard work, no matter how thorny its themes. Bolstered by her growing fame and remarkable rise to the top of pop, ‘Chris’ is an album that flaunts the idea of being a strong, threatening, sexually empowered woman. It’s worth remembering how unlikely that seemed. Its main currency is the kind of beautifully turned pop-soul that emerged post-disco. 2016’s ‘was a soft-edged evocation that found ways to simply exist as tilted in a world that prefers straight lines.

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