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