REVIEW: Christine and the Queens’ (QueensChristine) movie-length pop opera 'Paranoïa, Angels, True Love' is a lot to take in, but the epic emotional journey is worth it.
opens with another overture that features Mike Dean, Chris’ co-producer on the album, which cuts back to his mother. “Remember the time when your daughter was your son,” he sings on the intense “He’s Been Shining for Ever, Your Son.” The second part’s piano ballad, “Flowery Days,” is one of the opera’s best moments, finding Chris ruminating on what happens “When I die of love.
The final act opens gently with “Shine,” a soft, almost jazzy number. At this point in the story, Chris wonders “what makes [him] a human.” “We Have to Be Friends,” another one of the album’s best songs, spans new wave, R&B, and David Gilmour–esque guitar lines that recall, all in four minutes; it also contains a “Girlfriend”–like stuttered vocal hook, “Don’t you say no to me again/’Cause you know we have to be friends.
The final track, “Big Eye” features a big beat and Chris’ most angelic vocals. “My love is my light,” he sings in falsetto, “My love is my soul.” At this point, he becomes unified with everything that has led him to this point in the last 90 minutes, realizing, “I am now your mother/I’ll carry you through the other side.” The song builds with more vocal harmonies and big guitars, and he wonders a cappella, “Were you saving me from the dark?” It’s a stunning catharsis, a moment of deliverance.
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