Elec­tronic

NOW Magazine - - MUSIC -

MARIE DAVID­SON Work­ing Class ñ

Woman (Make It Rain) Rat­ing: NNNN “Do you re­ally need to carry around all that gear with you?” Marie David­son says on the open­ing track of her fourth al­bum. “My god.” Your Big­gest Fan, the spo­ken-word open­ing track on her fourth and best solo al­bum, is an in­ter­nal di­a­logue be­tween a faux-ob­se­quious fan voice and an un­der­min­ing in­ter­nal voice of im­poster syn­drome.

Af­ter three solo ef­forts and sev­eral re­leases with var­i­ous other projects, the French-Cana­dian elec­tronic mu­si­cian is on the as­cent. Work­ing Class Woman plugs into the headi­ness and awk­ward­ness that come with ris­ing from the un­der­ground while still hov­er­ing on the pe­riph­ery of no­to­ri­ety.

It con­tains some of her pop­pi­est and fun­ni­est ma­te­rial to date, tak­ing her min­i­mal techno and Italo-es­que elec­tro rhythms into un­abashedly melodic ter­ri­tory on the joy­ous So Right while swing­ing in the op­po­site di­rec­tion with ware­house­friendly in­dus­trial sci-fi in­stru­men­tals Burn Me and Worka­holic Para­noid Bitch.

For all their tightly pro­grammed fury, those tracks lack the dra­matic crescendo of the vo­cal ones. David­son is at her most an­i­mated on the night­mar­ishly over-the-top The Tun­nel. Whereas fel­low Mon­trealer Tiga is known for hu­mor­ous spo­ken word, he re­lies on syn­co­pated rhyme schemes and campy af­fec­ta­tion. David­son is wilder, fall­ing into fits of ma­ni­a­cal laugh­ter one minute and grow­ing deadly se­ri­ous the next. She some­times seems averse to rhythm – her voice can be as un­pre­dictable as her ex­plo­sive mu­sic.

One of the most ac­ces­si­ble songs feels like a con­cise rep­re­sen­ta­tion of Work­ing Class Woman’s mix of anx­i­ety, de­ter­mi­na­tion and hu­mour. Clubby, min­i­mal elec­tro cut Work It starts off with an earnest dec­la­ra­tion of how hard David­son works be­fore get­ting ridicu­lously vis­ceral (“Is that sweat drip­ping down your balls? Well then you’re not a win­ner yet”) and ends with a call for self-love. The song’s ti­tle and foun­da­tion is a well-worn dance (and pop) mu­sic trope but she makes it funny and res­o­nant, es­pe­cially at a time when it’s more clear than ever that work­ing hard doesn’t nec­es­sar­ily equal sta­bil­ity – in ev­ery sense of the word. Top track: So Right Marie David­son will play the Gar­ri­son on De­cem­ber 7. KEVIN RITCHIE

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