Marie David­son

Q (UK) - - The Shape Of Sounds To Come - STEVE YATES

“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.

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