Cristina (later reissued as Doll in the Box) was the first of her two full-lengths. Short and sweet, it was produced by August Darnell of Kid Creole & The Coconuts, and you can hear his signature brassy tropical camp all over it. The heavily textured Latin-jazz percussion brings to mind some of New York no wave’s more polished, dancefloor-ready groups, except it’s fronted by a snarky, jaded Betty Boop. Cristina’s vocals are simultaneously flippant and flirty, often splintering off into multiple personas in dialogue with each other. She leans into that heavy-handed sardonicism even more on her follow-up, Sleep It Off, a grittier piece of electro boasting a proto-Slave to the Rhythm Jean-Paul Goude cover. While Cristina was met with moderate acclaim, Sleep It Off was a commercial flop (so dumb! it’s really good!), leading to Cristina’s musical retirement (though she’s still a writer). Thank you Caroline for putting me onto this!
So good. Cristina was a Harvard drop-out who was working as a writer for The Village Voice when she met (and eventually married) Michael Zilkha, who was in the process of getting the now-legendary ZE Records off the ground. He encouraged her to record a song called “Disco Clone,” written by a former Harvard classmate of hers, which became ZE’s first release in 1978 and featured John Cale production (and, moreover, is really good).