The French-Canadian producer’s new album turns her disenchantment with clubbing into hard-won creative autonomy – with wit and a kick drum
In Marie Davidson’s nightmares, she’s always darting between spaces. The French-Canadian performer spent the better part of last year touring and the staircases, parking lots, corridors and succession of people filtering through her subconscious are telling. “I find myself in a place, not wanting to be there, knowing that I have to be in another,” she says of her dreams. She is a rueful, self-described workaholic, travelling from one club, transport interchange or professional milestone to another. Pursuit, in its various forms, runs through Davidson’s life.
Long before her transformation into a self-trained electronic musician, known for droll spoken vocals and tough hardware, she was playing guitar, violin, and keyboards in Montreal’s experimental DIY scene. She frequented parties as a wide-eyed teenager with an affinity for 90s hip-hop and R&B. By her 20s, her relationship with club culture – now with a taste for techno and Italo disco – matured into the dynamic she critiqued on her 2016 album Adieux au Dancefloor and continues to rebuff on her new album Working Class Woman, where industrial batterie and bleak introspection is lightened by wit and a forthright kick drum.
Related: Marie Davidson: Working Class Woman review – tormented techno subverted by humour
Continue reading...by Whitney Wei via Electronic music | The Guardian
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