Héloïse Letissier aka Christine And The Queens aka Chris is now called Redcar – at least for this new work. At the time this text was written, so much was known: the French artist recorded a concept album that will also be performed as a theatrical production. Redcar himself calls it a “poetry show” on Instagram. The press release uses the extinct word “rock opera”. Of course there is (almost) no rock music on “Redcar Les Adorables Étoiles (Prologue”)”, but there is a feeling of stage, staging and grandeur.
He is a singing dancer and a dancing singer
You’d already heard it on the previously released single, “Je Te Vois Enfin”. Letissier stands in a large open space, the music has an Eighties synth jagginess, but the pop dissociates and points beyond itself. With Héloïse Letissier you can feel everything at the same time: the longing for melody, the unconditional artistic attitude and the direct physicality. The Frenchman spits out his syllables, overemphasizes the consonants and sings with his whole body. He is a singing dancer and a dancing singer. That’s even more true on this album because the songs are stages for Letissier’s performances. “Redcar…” is a monodrama.
Musically, the new repertoire continues the sounds of the single mentioned. Synths immersed in reverb stand on seventies and eighties beats, which Letissier interprets together with producer Mike Dean (Kanye West, Lana Del Rey, Jay‑Z) in a contemporary way. For example, the bizarre Eighties EBM of “Tu Sais Ce Qu’il Me Faut” is great, which Letissier sings and paints on the tongue with boyish, extreme intensity. The wonderful “Rien Dire”, on the other hand, is reminiscent of the smooth electro-pop of “Tilted”. The prelude, “Ma Bien Aimée Bye Bye”, plays a special role. The song starts with an intricate jazz-rock groove and distorted bass. It’s almost prog! Letissier sings a beguiling melody over two chords. It’s the strangest moment on Redcar Les Adorables Étoiles (Prologue) – and the best.
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