Now it’s getting intense. After two great first records between French pop and Michael Jackson pastiche, the atmospheric EP LA VITA NUOVA and the confusing prologue album REDCAR LES ADORABLES ÈTOILES from last autumn, Chris is now releasing his masterpiece: PARANOÏA, ANGELS, TRUE LOVE – three acts, 20 songs, 97 minutes playing time, full-length. The album (like REDCAR before it) is loosely based on the play “Angels in America” by Tony Kushner, a drama about US queer culture in the 80s, marked by AIDS and Reagan’s conservatism.
Chris has divided the album into three acts, but don’t try to search for logic where instincts are concerned. The singer, songwriter, dancer invents his music by living out his feelings, which are shaped by the death of his mother, the end of a love, by his gender transformation, which has been completed for the time being – hence from now on: Chris (he/him).
A Grammy for Madonna for Best Supporting Actor – and of course one for Chris
PARANOÏA, ANGELS, TRUE LOVE offers fantastic synth-pop tracks like “To Be Honest” or “True Love” – these are the singles. But what’s going on around them is what makes this record so unearthly good. Chris steps in intimately: “Tears Can Be Soft” contains a Marvin Gaye sample, the sound is reminiscent of WHAT’S GOING ON. The elegant neo-R’n’B track “A Day In The Water” shows how important Chris is to the melodies on this album, “Track 10” is an avant-garde ride for more than eleven minutes, somewhere between Scott Walter’s late work , Drum’n’Bass and This Mortal Coil.
And then the appearances of Madonna: in three plays she speaks in the role of the “Eye of God”. She warns, jokes, scares. A Grammy for Madonna for Best Supporting Actor – and of course one for Chris, the protagonist of this incredible record.