マドンナやロード、エルトン・ジョンが絶賛するクリスティーヌ・アンド・ザ・クイーンズが4年振りとなるセカンド・アルバム『クリス』をリリース!!
こちらはCD1に英語ヴァージョンのアルバムを、そしてCD2にフランス語ヴァージョンのアルバムを収録した2枚組＜イングリッシュ・エディション＞!
独特なポップセンスと80年代エレクトロやハウスをクロスオーバーさせたサウンドとミュージック・ビデオで見せるマイケル・ジャクソンからインスピレーションを受けたダンスでフランスのみならずヨーロッパ、USでブレイクを果たしている彼女。前作アルバムではフランスの音楽賞、ヴィクトワールの2部門を受賞、更にNMEアワードで2部門を獲得するなど多くの賞を受賞し高評価を獲得、UKチャートでもTOP10入りを果たした。
発売・販売元 提供資料（2018/07/13）
Rolling Stone - 4 stars out of 5 -- "Mirroring the music's throwback electropop flavor, the English phrasing has clearer echoes of '80s giants: Prince, Michael Jackson, and especially Madonna, though the tempo's generally more measured, and the vibe more atmospheric, than those artists in their hitmaking prime."
NME - 5 stars out of 5 -- "[I]t's a harsher, hungrier sounding record, turning utter filth into sublime poetry atop the kind of dirty synth-work that would leave Janet Jackson producers Jerry Jam and Terry Lewis beaming with glee."
Clash - "A truly vital, very special release, CHRIS plunges into action with 'Comme si' before hitting hard with the Dam-Funk collaboration 'Girlfriend', perhaps the most erotic pop cut Prince forgot to write."
Spin - "She's absurdly talented, as a performer and production designer as well as a singer-producer, and she's learned by watching the best..."
Uncut - "The primary mode on Chris is intelligent R&B, typified by the glassy DX7s of the sublime 'Girlfriend' and the new jack swing of 'Feel So Good'..."
Paste - "[T]he approach she takes on CHRIS feels fresh, especially powerful and provocative."
Rovi
Christine and the Queens' debut album, Chaleur Humaine, announced her as a heartfelt, eloquent artist and earned her a thriving following of listeners who felt she was singing directly to -- and for -- them. Its stories of coming of age as a queer woman, such as the hit singles "St. Claude" and "Tilted," had an almost liquid tenderness that brought her identity softly into focus. Chaleur Humaine's success was literally transformative: the demands of touring made Christine stronger inside and out, and Chris reflects that, reinventing her identity and sound from its androgynous one-syllable title to its honed songwriting. Using boundary-breaking role models like Madonna and Sigourney Weaver as inspiration, Christine's second album expands her conception of what it means to be a woman by borrowing the good stuff -- autonomy, lust -- that too often is the exclusive domain of male artists. She's the pursuer on "Goya Soda"'s tale of erotic chasing and consuming, and unafraid to show her impatience with male and female lovers alike on "Damn (What Must a Woman Do)." Thanks to the vintage new jack samples she used to create the album, Chris sounds as strong and sharp-edged as Christine's viewpoint. The headstrong, dramatic sounds of late-'80s and early-'90s R&B feel both familiar and foreign, and provide an inspired backdrop for Christine's subversion of traditional gender roles. She sounds tough, seductive, and even a little playful on the Dam-Funk collaboration "Girlfriend," where she refuses the passive territory of the song's title with one breath and delivers a sexy counteroffer ("damn, I'd be your lover") with the next. In much the same way she previously borrowed from Kanye and covered Beyonce, on Chris she channels Michael and Janet Jackson with electrifying results. The bright, tight opener, "Comme Si," evokes the way the King of Pop generated excitement back in the day, its shimmying and popping percussion suggesting the choreography that was so integral to his music (and is to Christine's). Later, her taut, vibrato-laden vocals on "Feel So Good" echo both Michael and Janet's styles over sliding synths and samples of breaking glass. Crucially, Chris' purposeful sound doesn't come at the cost of Christine's vulnerability -- in fact, her newfound strength lets her dig deeper and reveal more. On "Whats-Her-Face," she brilliantly captures how teenage bullying can still feel like it happened yesterday. "The Walker" is an unbowed ballad that compares bruises to violets and wears them like badges of honor, while "Doesn't Matter" is a crisis of faith that's impossible not to dance to; even though she questions everything, Christine urges her listeners to find a ray of hope and run with it. As she examines what masculinity, femininity, strength, and vulnerability mean to her, Christine has never sounded more exposed -- or in control. A triumph, Chris reaffirms just how masterfully she engages minds, hearts, and bodies. ~ Heather Phares|
Rovi
Christine and the Queens' debut album, Chaleur Humaine, announced her as a heartfelt, eloquent artist and earned her a thriving following of listeners who felt she was singing directly to -- and for -- them. Its stories of coming of age as a queer woman, such as the hit singles "St. Claude" and "Tilted," had an almost liquid tenderness that brought her identity softly into focus. Chaleur Humaine's success was literally transformative: the demands of touring made Christine stronger inside and out, and Chris reflects that, reinventing her identity and sound from its androgynous one-syllable title to its honed songwriting. Using boundary-breaking role models like Madonna and Sigourney Weaver as inspiration, Christine's second album expands her conception of what it means to be a woman by borrowing the good stuff -- autonomy, lust -- that too often is the exclusive domain of male artists. She's the pursuer on "Goya Soda"'s tale of erotic chasing and consuming, and unafraid to show her impatience with male and female lovers alike on "Damn (What Must a Woman Do)." Thanks to the vintage new jack samples she used to create the album, Chris sounds as strong and sharp-edged as Christine's viewpoint. The headstrong, dramatic sounds of late-'80s and early-'90s R&B feel both familiar and foreign, and provide an inspired backdrop for Christine's subversion of traditional gender roles. She sounds tough, seductive, and even a little playful on the Dam-Funk collaboration "Girlfriend," where she refuses the passive territory of the song's title with one breath and delivers a sexy counteroffer ("damn, I'd be your lover") with the next. In much the same way she previously borrowed from Kanye and covered Beyonce, on Chris she channels Michael and Janet Jackson with electrifying results. The bright, tight opener, "Comme Si," evokes the way the King of Pop generated excitement back in the day, its shimmying and popping percussion suggesting the choreography that was so integral to his music (and is to Christine's). Later, her taut, vibrato-laden vocals on "Feel So Good" echo both Michael and Janet's styles over sliding synths and samples of breaking glass. Crucially, Chris' purposeful sound doesn't come at the cost of Christine's vulnerability -- in fact, her newfound strength lets her dig deeper and reveal more. On "Whats-Her-Face," she brilliantly captures how teenage bullying can still feel like it happened yesterday. "The Walker" is an unbowed ballad that compares bruises to violets and wears them like badges of honor, while "Doesn't Matter" is a crisis of faith that's impossible not to dance to; even though she questions everything, Christine urges her listeners to find a ray of hope and run with it. As she examines what masculinity, femininity, strength, and vulnerability mean to her, Christine has never sounded more exposed -- or in control. A triumph, Chris reaffirms just how masterfully she engages minds, hearts, and bodies. ~ Heather Phares
Rovi
本国フランスのヴィクトワール賞で2部門を獲り、全英チャートでもTOP10入りしたデビュー作から4年ぶりとなる2作目。ロードやマドンナも絶賛したポップセンスを活かしながら、今回も80年代的なエレクトロ・サウンドをキラキラ輝かせ、意志の強さとキュートさの混ざりあった歌声を響かせている。まずはデイム・ファンクをフィーチャーした先行シングルのエレクトロ・ブギー"Girlfriend"が最高。MVでは「ウエスト・サイド物語」とマイケル・ジャクソン"Bad"からインスピレーションを得た振り付けで、ダンサー6人とキレキレのダンスを観せているが、聴けば誰もがそれを真似して踊りたくなるもの。またスロウな曲では神秘的かつ奥行きのある歌唱を披露。今度はUSでもヒットしそうだ。
bounce (C)内本順一
タワーレコード（vol.419（2018年9月25日発行号）掲載）
規格品番とは、日本レコード協会が定めた規格に基づき、CD・DVDなどの市販されているメディアに対して付けられたコードのこと。英数字４文字（記号）と数値１～５桁（シリアル番号）の組み合わせを用いる。
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