The records – and film – that in­flu­enced Chris­tine And The Queens’ sec­ond al­bum.

Q (UK) - - Cover Story -

Serge Gains­bourg Love On The Beat (1984)

Leer­ing “Gains­barre” dom­i­nates Gains­bourg’s penul­ti­mate al­bum, recorded in New York to bor­row from the last days of disco’s co­caine kitsch, a fish-out-ofwa­ter qual­ity Chris wanted to steal.

Michael Jack­son Dan­ger­ous (1991)

The art brut sam­pling be­hind one of the world’s glossi­est pop records in­spired Chris, par­tic­u­larly the “de­li­cious mo­ment of good and bad taste” that is She Drives Me Wild open­ing with the sound of a car start­ing. “Ev­ery­thing with a sound to il­lus­trate the ac­tion, which made the songs so thrilling.”

Madonna Truth Or Dare (1991)

Not an al­bum but the in­fa­mous doc­u­men­tary hooked around Madonna’s Blond Am­bi­tion tour, and her de­fi­ant re­fusal to tem­per her sex­u­al­ity in the face of cen­so­ri­ous po­lice. Madonna in the ’ 90s is one of Chris’s ob­ses­sions: “She was clash­ing so much in­for­ma­tion in one per­sona, it’s still so mod­ern.”

Janet Jack­son The Vel­vet Rope (1997)

While Jack­son’s ’ 80s al­bums Con­trol and Rhythm Na­tion were cap­i­tal-P po­lit­i­cal, it’s the per­sonal-is­po­lit­i­cal ap­proach of The Vel­vet Rope – Jack­son’s rev­e­la­tions about de­pres­sion, queer sex­u­al­ity and so­cial sta­tus – that fed Chris, par­tic­u­larly in­ter­lude Speaker Phone on which Jack­son mas­tur­bates be­fore a phone call.

Eminem The Slim Shady LP (1999)

The birth of Eminem’s al­ter-ego. As well as us­ing Slim as a ves­sel for dark thoughts, it’s the car­toon­ish use of sound that trick­led into Chris’s pro­duc­tion: note the gig­gling girls on Girl­friend when she sings, “Boys are load­ing their arms, girls gasp with envy.”

Dâm-Funk & Snoop Dogg 7 Days Of Funk (2013)

The bi­b­li­cal al­lu­sion is apt: two greats com­bine for a record about the pu­rity of funk, and par­tic­u­larly G-funk, a sound that struts through Chris’s sec­ond al­bum and lends it machismo. “I used it like a sonic quote, al­most campy in a way, be­ing French on top of it,” she says.

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