Sure this Canadian artist’s got something to be on Primavera Sound and Sónar’ respective line-ups for 2017. Guess there’s no precedent on it. Anyway, I cheer up for both Barcelona major festivals’ artistic crews, not only for tracking talent wherever it appears but to share it for the audience sake in an elegant fair play. My applause to Cønjunto Vaciø’ immediate reaction for bringing her first at the closest distance, in a warmy club. It will take place tonight at Almo2bar Club in Barcelona, with SDH (Semiotics Department of Heteronyms) and Acción Diplomática as guests.
Shakah-shakah-boom she goes and led me to “Adieux Au Dancefloor” right away. I knew those copies should fly away in a blink of an eye. I got mine back in October, delivered from Cititrax as first “out of stock” ban was flashing on its web. Then, for my surprise, Catalonian based label and multi-creative studio Cønjunto Vaciø announced Marie Davidson’s concert in Barcelona. I believed in cosmogony for a second.
Marie Davidson’s got a loaded kind of irony, she’s sharp and fast with words and she aims for good, right in the middle. Otherwise, beginning with “It seems that honesty is not so fashionable these days. It’s true … “ would be anything but fluffy. But no, she’s assertive with aplomb . In fact, she’s got the way to wake you up, spread your ears to listen what is about to come on the flow. You are convinced at once as she reaches the first crest: “You call me naïve , I tell you what: I’m naïve to the bone.” That’s a cutback, a beautiful turn, as defiant and self-confident as to keep begging for more. At this point, a look of complicity draws a slight smile on your face.
She’s a voice, fully charged with poisoned honesty (is there any other kind?), expressed a la spoken word either in French or in English. She is one half of Essaie Pas’ (with Pierre Guerineau), a cold-wave duo raised on Montréal’s flourishing scene. She’s made out from poetry in a code of straightness, away from streetwise talks and looks. She punches it up with a smarty sense of humor in lines like “In The Middle Ages, people used to wear clocks, it’s 2016, get real.” She has been modulating her style with two previous solo albums, “Perte D’Identité” (Weyrd Son Records, 2014) and “Un Autre Voyage” (HoloDeck, 2015). Both are constructed under the narrative patterns of dark verses wrapped up from ambient to electro through minimal. Instead of being a rhapsodist over the music, Davidson has been always talented to create bodies of words interacting with rhythm, in a stimulating dialogue, sometimes by corroboration and some others by contrast.
Her third solo release, “Adieux Au Dancefloor (Goodbye To Dancefloor)” is taking contrast to the limit. As far as to take creative motives from the contradictory experience of touring Europe with her band: being fascinated and disgusted for dance music and club culture at the same time. As she examines the destructive habits and behaviors coming from a town-to-town sequence of live late night gigs, she describes attitudes and archetypes coming her way. She shows them out for a reaction, both personal (“I Dedicated my life”, “Adieux Au Dancefloor” and “Naïve To The Bone”) and conceptual (“Interfaces”, “Denial”, “Inferno”, “Good Vibes [Making Birds]” and “Planet Ego”), even with a proper and referenced impersonation (“La Femme Écarlate”). She turns this bunch of downs into the ups of one of the most cathartic albums of 2016, a kind that works from skeptic thoughts to an exorcising act, from mental to the floor.
She’s got what it takes to give a title like this one to an album. “Adieu Au Dancefloor” is about to be surprised with an enlightened mind-run of lows and downs that speaks for truth, taking you high for bravery. And she’s got lots of it, leaving previous musical schemes behind for a growth as producer. She puts synth-pop and techno to the title and touchy vintage cards from Suicide’s electro-punk to Throbbing Gristle and Kraftwerk industrial layers. She’s about to be in Barcelona tonight. Don’t miss her, or wait until spring!