Boomkat Product Review:
Absolutely killer full-length dancefloor debut from Marie Davidson, long-time member of Essaie Pas, newly delivered via Minimal Wave's Cititrax imprint.
Montréal’s Marie Davidson serves her strongest, most elaborate batch of dancefloor material to Minimal Wave’s Cititrax label after a series of head-turning early solo releases with Weyrd Son and HoloDeck (S U R V I V E) circa 2014-15 which highlighted her devilish take on techno-pop and ‘80s electro-wave.
As a keen participant in Montréal’s fertile experimental music scene, Marie’s range takes in the sophisticated synth pop élan of her DKMD and Essaie Pas does with David Kristian and Pierre Guerineau, respectively, as well as her sometime role in Sam Shalabi’s Land Of Kush ensemble, which all proves, if nothing else, that she’s no one trick pony.
We could already tell from last year’s Un Autre Voyage that she’s a master at working nuanced detail into each piece, rather than simply imitating a style, and with Adieux Au Dancefloor we find Marie tending to her own devices with scrupulous swerve.
The devil is in the detail with this one, and it informs all the best aspects here; whether it’s in the switch up from cold, crisp EBM jack to skittish 150bpm stepper in I Dedicate My Life, studded into the leathering EBM tilt of Interfaces and the spiders webs of FX in Denial, or kerned with a louche pop sensuality in the vocals and groove of Good Vibes (Mocking Birds), or the sugary chanson craft of her title track which brings us to the run-out groove.
Most importantly, Marie treads that finest line between reverence to classic form and the freedom to mess with it, whilst keeping her eye trained on the ‘floor sharper than ever, making Adieux Au Dancefloor a synth-pop album for the times and not just today.