I was not planning on reviewing Chantal Claret so soon, but I have listened to her album a few times now, and have one of the tracks on a mental repeat. Also, the band that I thought I would do has more songs than I initially realized, so really, this is the review I’m most prepared for.
On one level I’m holding out hopes that I will be able to see her perform soon, because I bet that would be a fun show. She played in Los Angeles Sunday night, and it almost felt possible to make it, but that time was spoken for, and it just wasn’t practical. Also, she is opening for a few MSI dates (being married to their lead singer probably doesn’t hurt), but not Portland. Still, they have not announced who is opening in Portland, so it could still happen. I should have added her to my Year of Magical Concert-Going post.
The point is, all I have to go on is listen to the tracks she has recorded on her solo debut, The One and Only, plus watching her in a couple of Stickam chats. So, that’s what we’ll cover.
We have a dozen tracks, starting with a fun little intro. This gives the whole thing sort of a concert feel, and that is enhanced by the intimacy of the sound. It feels like you are listening in a club almost – a good club – though I can’t really explain why. Maybe it is because it feels so natural to dance and sing along. She makes you want to move your hips.
There is an overall feeling of lightness in the mix. It’s not that there are no serious sentiments, especially, I would say, on “Pleasure Seeker”, and the music does get dramatic, but we are having a good time.
Some of this is probably due to the throwback sound. My favorite, “Honey Honey” (which has been moving in and out of my head for the last few days), would not sound out of place sung by the Supremes. Other songs sound like they have some similar influences, but with a generous dose of funk. Good examples of this include “This Time” and “Pop Pop Bang Bang”. And of course, all of this done in Chantal’s unique voice.
I suppose the natural thing to do is to draw Amy Winehouse comparisons, but I think that would be a disservice. This is its own thing, and it’s a good thing. Also, not all of the influences are from the 50s/60s. “Real Girls” feels like it references Janet Jackson and Beastie Boys, a little, and would totally work for a bunch of girls getting down at a club.
Chantal Claret’s The One and Only is available via Amazon and iTunes. Maybe some other places too, but those two for sure.
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