“Work is very much valued,” notes Marie Davidson. “A lot of people identify with their work, that’s how they introduce themselves: ‘I’m Jack, I’m a carpenter.’ ‘I’m Marie and I’m a musician…’” French-Canadian Davidson is also a workaholic. After abandoning plans to study theatre she spent nine years working in a bar and waitressing to afford to do music full-time, and has since set about it with hammer and tongs. Her solo work is one of three musical projects she’s currently working on (the others being Essaie Pas, with husband Pierre, and Sleazy), and which has seen her gradually move in from the ultra-experimental fringes of electronic music to the more dancefloor-friendly centre of techno. “I came from a background of playing real instruments. So when I got into making dance music I was a neophyte – it was trial and error. My first two albums are very experimental, because I was experimenting myself. Now the music is more upbeat and complex and dance-y because I have the tools to compose these songs.” Floor-filling it may be, but those avant-garde sensibilities remain on new album Working Class Woman. It’s a record that pushes techno in a multitude of directions, often all at once. The nightmarish The Tunnel intermingles with tracks like the playful dialogue cut-and-pasting of The Psychologist, or the roaring whack on the self-explanatory Workaholic Paranoid Bitch, its divergent strands all held together by a half-talking style she terms “spoken text”. “Lots of people want to be rock stars but not many people have the courage to pursue their dreams,” she notes. “Not that I’m special. I don’t believe in talent, I believe in hard work.” The combination of the two is about to reap rewards.
“I believe in hard work”: there’s room at the top for Marie Davidson, 2018.