4/5
The Crown.
Christine is classic, like a Stephen King novel. The crown is the Queens. Don't believe us, just watch the throne. Whether it's dancing on the top of a car with Charli XCX like an art is possessed. Or giving 2020, in solidarity, its anthem like 'People, I've Been Sad'. Although, with all due respect, this was a song written in the wake of Héloïse Letissier losing his dear mother. Ever since Chris gave us the flowers of the iconic 'Chaleur Humaine', he has been on a tear. The self-titled 2018 follow-up was a pop powerhouse of a record for an artist who might be the closest thing we have to Björk these days (even though the greatest released her latest, last month). Certainly one of the best artists alive today in our generation, Chris and his Queens is the internationally known, French legend from Nantes, with an electric, synth-pop sound honed in the Big Smoke clubs of London.
Now, slicked back with a new suited identify as Redcar, Chris is back with the prologue album of 'Redcar les adorables étoiles' which sounds like a soundtrack, styled that way for the big score. In a new music Friday that sees the Boss Springsteen cover Motown soul for 'Only The Strong Survive' and rap God Nas conclude his trilogy with 'King's Disease 3', this runs the jewels. All in a crowning week of new Netflix royal affairs and the massive Marvel movie 'Wakanda Forever', where we get to see who takes the throne as 'Black Panther' after the late, great Chadwick Boseman.
Héloïse wrote and recorded 'Redcar' in little over two weeks. But it's a signature sound that's been crafted and created for decades. All as the 34-year-old is truly finding his stride and self. Even after the death of his mum in a 2020 that really was the worst year of all our lives. Break-ups in melody harmonize over this album and label disputes that have played out in the public court of social media. Still, it doesn't affect what we hear one bit, as the artist who broke through with a choreographed tribute to the late, great Prince finds his emancipation. Recently coming out as a trans man, the masculine figure of 'Redcar' (a vehicle of significance after his mother's passing). Racing away with a sonic sound that only he can master. "Bye-bye/Ma bien aimée, bye-bye/Je t'aimerai 'til I die, je t'aimerai 'til I die/So long, oh, my baby long gone/Je ne t'ai vue qu'un instant/Je ne t'ai vue qu'un instant/Fidèle/À la lumière fidèle/J'attendrai ma belle", he sings on the opening 'Ma bien aimée, bye-bye', as again, we're never lost in translation when it comes to the feeling evoked.
13 tracks of English mixed with a French kiss makes us lucky for an album that feels like it's come out of nowhere, but is bow-tie ready for the ball like a Ziggy Bowie. Stardust is sprinkled throughout this modern love. 'Tu sais ce qu'il me faut' (Oh, je te vois danser (Oui, je te vois)/Oh, je te vois danser (Oui, je te vois)/Quand tu danses, tu mets un brasier/Oh-oh/Oh, je rêve de toi/Oh, je rêve de toi/Et quand je rêve ça s'arrête pa's") breaks even more hearts with the 'la, la, las" matching its predecessors "da, da, das" in hallowed harmony. Whilst 'La chanson du chevalier' gives it up for "the man I love". Atmospheric and hauntingly. But it's 'Rien dire' that sounds compelling cinematic for a singer whose choreography is just as important as their artistry in making music a visual experience as well as an aural one.
'La clairefontaine' gets a dedication in a 80s vein. But it's 'Les estoiles' that really hits like a Redcar title track. Same song for new classic 'Memoire des ailes', singing, "Ouh, ouh, ouh, ouh/J'aurais aimé qu'à jamais tu choisisses mon si doux visage/Et arrêter le temps, ne plus faire semblant/Je suis fait d'eau et de terre et mon cœur brille au milieu d'une cage/Et je cherche le sens pour me sentir vivant/Les yeux posés sur la grève." Whilst 'Looking For Love' continues that streaming search, anthemically. But it's 'My Birdman' that really soars. Spreading its wings in all its beauty. "Oh, Jamil, he said/What are you waiting for?/Oh, Jamil, he waited by the door/Oh, Jamil, he offered to cook for me/Oh, Jamil, he said I was an angel/Oh, cook for me/Oh, light up for me/Oh, tender boy I am/Oh, solid, my birdman," over piano playing we could have sworn we've heard before. All because this original album feels like instant vintage the moment it subtly seeps into our subconscious.
'Combien de temps' tries bien combines the same. As does the dance hall drums of 'Je ye vois enfin', ready to club you to death with its addictive nature in club culture craving. But before the 'Le ames amantes' au revoir, it's 'Angelus' that really takes us higher on a new wing with its substance that's a true natural high. "Ange lit/Me réchauffe le cœur/Maydayi/Je suis Saint Claude, ou-ah/Demande d'asile/Dans ton eau claire." Roughly (Google) translated to, "angel bed/warms my heart/Maydayi/I am Saint Claude, ou-ah/Asylum/In your clear water." The depth of this latest greatest album from a Redcar (once) named Christine submerges you in sonic sound. Sure, amidst label politics there are some that will balk like those who don't understand one finding their own identity. But don't worry, darling. Artists are supposed to find their stroke on their personal and professional canvas. Don't brush it off. This picture being painted is one that you should hang in the Louvre. With love. TIM DAVID HARVEY.
Playlist Picks: 'Ma bien aimée, bye-bye', 'La chanson du chevalier', 'My Birdman.'
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