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Review: Proudly pansexual pop artist Heloise Letissier has made some terrific music over the last decade, with each new album release being greeted by rave reviews. 'Redcar Les Adorables Etoiles', Letissier's third full-length, offers a subtle evolution of the Christine and the Queens sound. Whereas previous album 'Chris' (2018) blurred the boundaries between FM synth-heavy AOR synth-pop, R&B and the kaleidoscopic synth-funk of occasional guest collaborator Dam-Funk, 'Redcar Les Adorables Etoiles' explores the more atmospheric and stylized side of 1980s electronic pop, adding a few typically theatrical twists along the way. For proof, check out the grandiose chords, slow-motion chords and towering choruses of 'Le Chanson de Chevalier', the bubbly post Junior Boys aural melancholia of 'Rien Dire' and the throbbing, Euro-disco influenced mid-80s synth-pop of 'Je Te Vois Enfin'.

Review: One of the joys of Christine and the Queens' impossible-to-pigeonhole output has always been guessing what the gender-fluid artist will conjure up next. Even the Frenchman's most obsessive fans, though, will have predicted Paranoia, Angels, True Love, a triple-CD-length affair loosely based on Tony Kushner's legendary work Angels in America, a two-part experimental play about gay men in New York experiencing hallucinatory discussions with angels amidst the AIDS epidemic. It's not a wholly unsurprising turn, but still an unlikely project - and unlikely projects have always been the artist's bread and butter. Musically, it's a strong set that expands on the artist's now familiar blends of pop, r&b and electronica, and also contains some eye-catching collaborations and guest appearances - not least from the Queen of Pop herself, Madonna.