Richard BodinToday we’re going to talk about one of the greatest albums to emerge from the French alternative rock scene — by one of the greatest bands in French music history. Okay, I may be biased and overly enthusiastic, but only just slightly. Let me introduce you to Les Rita Mitsouko and their brilliant second album: The No Comprendo.
A Creative Collision
In the late ’70s, a young Fred Chichin lived a full-throttle life: travelling across Europe, selling his blood to survive in Spain, and playing in bands like Fassbinder and Gazoline. After a brief stint in prison in 1979 for drug-related charges, Chichin joined the cast of a musical called Flashes Rouges. There, he met Catherine Ringer — a fiery young performer with a bold voice and fearless energy. The pair connected instantly, and within a week, Chichin had convinced Ringer to quit the musical and start a band with him.
They began as Sprats, playing small venues. In 1981, Catherine played a game where she mixed up names and Guerlain perfume brands — “Twinka Shalimar,” “Rita Mitsuko”… Chichin immediately loved the sound of the latter, and the band found its name. After releasing a few singles and building a reputation, Rita Mitsouko released their self-titled debut album in 1985. Their second single, “Marcia Baïla”, became an instant hit. Even before the dust settled, they were already working on their next album.
More Than a Frontwoman
Because many assumed “Rita Mitsouko” referred to Catherine Ringer alone, the band decided to clarify their identity. They added “Les” in front of the name to make it clear that they were a duo. In 1986, they released their highly anticipated second album. The cover simply states: Les Rita Mitsouko présentent The No Comprendo.
Trying to pin down their musical style is almost pointless — and that’s part of the appeal. Their music defies easy categorisation. Imagine some funky new wave with hints of hip-hop and jazz, and you might have an idea.
Outsiders with Style
At the time, the French music scene wasn’t overflowing with bold, genre-bending rock acts. While groups like Téléphone and Trust brought some raw power, Les Rita Mitsouko offered something radically different — experimental, colourful, and flamboyantly theatrical.
For The No Comprendo, they teamed up with legendary producer Tony Visconti, best known for his work with David Bowie and T. Rex. His touch helped sharpen the album’s ambitious vision without dulling its wild edges. A year later, they would meet The Sparks, kindred spirits in pop eccentricity, and collaborate on a few tracks — like the famous “Singing In The Shower”. The result is an album that feels both deeply French and strikingly international — polished, weird, accessible, and uncompromising all at once.
But it wasn’t just the sound that made them stand out. Les Rita Mitsouko built an entire artistic universe around their music. They collaborated with leading fashion designers, stylists, and visual artists. Their bold, surreal music videos were directed by the likes of Jean-Baptiste Mondino and Philippe Gautier, transforming songs into visual art. Even cinema took notice: Jean-Luc Godard filmed them in the studio for his 1987 film Soigne ta droite, cementing their place at the intersection of pop culture and avant-garde.
Track by Track: A Tale of Two Sides
The album opens with the seemingly festive “Les Histoires d’A.” (“The L. Stories”). Don’t let the upbeat sound fool you — beneath the bubbly surface, Ringer sings about love stories turned sour. “Andy” follows, equally cheerful in sound, but with undertones of missed chances — or perhaps something more sinister, like a brush with a stalker.
Then comes “C’est Comme Ça”, the album’s undeniable high point. It starts with a taut, rhythmic groove and builds steadily. Ringer’s vocals rise from a whisper to a wild, trance-like crescendo. Chichin’s guitar grows fuzzier, his riffs morphing into a hypnotic solo, while Ringer loops the earworm refrain like a spell. The video, directed by Mondino, won a Victoire de la Musique for best music video and elevated the track to cult status.
The first side closes with “Someone to Love”, a new wave track with punk energy and a jagged edge. It’s a side packed with bangers — upbeat, sharp, and endlessly replayable.
A contrasting flip side
In contrast, the second half shifts gears into darker, slower, more experimental territory. I can’t say it is a disappointment, because it is still very good. It stands very well on its own. But it feels a bit unsettling, and hinders the natural progression of the album after the high energy of the first side.
It opens with “Stupid Anyway”, a minimalist piano ballad that feels like it’s being played in a smoky, empty bar after closing time. “Un Soir Un Chien” is a shadowy, theatrical ballad layered with icy synths and a pulsing, hypnotic beat — a study in eerie melancholy. “Bad Day” lifts the mood briefly, with jerky punk-funk energy, all twitchy guitars and swagger. Ringer’s delivery struts a tightrope between sass and unraveling. The trance-like “Tonite” follows, subdued and seductive, before the album wraps with “Nuit d’ivresse”, bringing back some of the first side’s punch — but filtered through late-night delirium.
Love, the Not-So-Pretty Kind
Love is the recurring theme of The No Comprendo — but not the flowers-and-sunshine kind. This is love at its most complicated, disillusioned, and raw. “Nuit d’Ivresse” captures the kind of love you find in the late hours, at a nightclub or leaning against a bar. “Someone to Love” talks about everyday love — the kind that gets messy and mundane. “Stupid Anyway” feels like the confession of someone who’s been through too many heartbreaks to believe in any of it anymore. And “Un Soir Un Chien”? That’s about unreciprocated, unconditional love — painful and pure.
A Singular Duo
Les Rita Mitsouko are a remarkable and powerful creative duo — both on stage and off. Their chemistry is undeniable. Two strong, distinct personalities come together to form something truly special. The exuberant Catherine Ringer is a force of nature: from the first note to the last, she unleashes the full range of her vocal power. She can roar louder than a lion, whisper softer than a mouse, and effortlessly glide from deep lows to soaring highs. Fred Chichin, more reserved, leaves his unmistakable musical imprint all over the album, weaving his genius through every track.
Final Word
The No Comprendo remains a landmark in French alternative music — a daring, genre-bending album that captures the restless, visionary spirit of its creators. It ended grabbing the Victoire de La Musique for the Best Album. It’s a record of powerful contrasts: light and dark, exuberance and melancholy, chaos and structure. Nearly 40 years later, it still feels fresh, unpredictable, and utterly alive. It’s not just a great French album — it’s a great album, full stop.
