In a Paris studio with A.G. Cook, Charli wove haute couture and cinema into a new album that’s part sonic manifesto, part fashion statement.
The studio sessions happened in Paris, which already felt like a signal. Not London, not Los Angeles, but the city that still owns the conversation around beauty, craft, and the weight of image. Charli XCX went there with A.G. Cook to build something that would sit deliberately across three mediums at once: music, fashion, and film. No single discipline could contain what she was after.
The album itself becomes the artifact. Marc Jacobs connected with the project at the design level, which is the kind of detail that matters now. This isn’t a pop star borrowing couture for a video shoot. It’s a collision where the aesthetics are intrinsic, where the album sleeve and the sound design operate in the same language. Martin Scorsese’s involvement points toward something cinematic embedded in the track architecture itself, visual thinking coded directly into the mixing.
What arrives is a deliberate expansion on BRAT’s DNA. That album fragmented pop music on purpose, made complexity feel immediate and vital. This follow-up doesn’t retreat into cohesion. Instead it builds outward, treating the album as a total sensory object. The Paris location, the collaborators, the multi-disciplinary frame all feed into a statement that contemporary pop can hold more weight, more idea-density, than the medium is usually asked to carry. It’s maximalist in intent but precise in execution, which is the only way this kind of thing works at all.
