Charlotte’s second album, 5:55, is my favourite record of all times. That accolade was always going to be difficult to top, and, I have to report, IRM — the follow-up — doesn’t seem to be a record I would want to listen to repeatedly for the next five years. However, the lead single “Heaven Can Wait” is absolutely smashingly amazing, and the video directed by Keith Schofield is the best video I have seen last year.

Most major label artists have slid into the “let’s make the same video we always have, just cheaper” mentality. Pet Shop Boys’ “Did You See Me Coming” looks like their own “Minimal”, sans budget. Madonna’s “Celebration” looks like “Hung Up”, sans budget (and, mercifully, sans pink leotard). I could go on.

On the other side we have videos that take two years to complete, require “fan participation” and illustrate completely uninteresting songs. I will refrain here from naming examples, largely because I forgot them already, so memorable they proved to be. They have no budget, no story and largely consist of webcam shots of something or other.

“Heaven Can Wait” is none of those. It looks bloody expensive — how on Earth did Gainsbourg’s label gather budget for that? It looks bloody gorgeous — slow-motion here and there, loads and loads of extras, gorgeous shots in gorgeous daylight, gorgeous Charlotte, slightly less gorgeous Beck (hey, he’s trying). It doesn’t seem to have a story, being, instead, a gathering of dream-like sequences, that are somewhere between disturbing and exciting, scary and warm, retaining the dreamy quality throughout. It’s memorable, beautiful and unique, and so is the song, which makes it a rare case in the age of record labels scrapping album promotion a week before the release of the lead single.