From her early work ‘Perte d’identité’ to the innovative explorations on ‘Renegade Breakdown’, Marie Davidson has continually evolved rather than conforming to a singular style. Her newest album, ‘City Of Clowns’, sees the Canadian artist merging deeply personal narratives with incisive societal critique. It represents an evolution rather than a return to her electronic beginnings.
“During the pandemic, I hardly interacted with any machines, but when tasked with creating music for Dana Gingras’ multimedia dance company, I rediscovered electronic music. That experience made me realize that a part of me will always be rooted in electronic music,” she shares with CLASH. The album combines the pop structures and melodic sensibilities of ‘Renegade Breakdown’ while honoring her electronic roots. “It’s a fusion of my past and my future, a curious blend even for me.”
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The album addresses the widespread sense of disorientation many are experiencing today. “This album turned out to be more political than my earlier work. I’m struggling to find my way in the current world.” Central to ‘City Of Clowns’ is an exploration of the overwhelming influence of Big Tech, inspired by her reading of Shoshana Zuboff’s The Age of Surveillance Capitalism. “That book consumed me,” admits Davidson. “It made me aware of how deeply technology has permeated our lives, altering not just our interactions, but our self-perceptions.” These themes subtly emerge throughout the album, evident in both the lyrics and sound design: In the opening track ‘Validations Weight’, Davidson employs Amazon’s text-to-speech tool, Polly, to create a haunting metaphor for the loss of humanity.
Self-expression has always been vital to Davidson’s artistry, and this album is no exception. Tracks like ‘Demolition’ and ‘Statistical Modelling’ critique the alluring control of technology, while ‘Sexy Clown’ and ‘Fun Times’ explore her personal experiences as an artist and a woman. “Life is full of contradictions, and I embrace those in my work,” she explains. This philosophy is perhaps most clearly captured in ‘Contrarian’, a pulsating dance track that serves as a declaration of her identity. “I know I contradict myself. I’m a contrarian. I change my mind,” Davidson asserts.
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The clown serves as a recurring symbol throughout the album, representing misfits and outsiders. “The clown signifies those who defy the status quo; it also symbolizes the outcasts, the overlooked individuals of society, the ones who don’t conform. I’ve always been drawn to dark humor as a coping mechanism during difficult times.” For Davidson, the clown also signifies empowerment: in ‘Sexy Clown’, she reclaims her identity, celebrating the very differences that once made her feel isolated.
DJing has also significantly influenced Davidson’s work. “Prior to the pandemic, I didn’t DJ professionally. It wasn’t until 2022 that I immersed myself in it, which opened my perspective.” This shift can be heard in tracks like ‘Push Me’, which are crafted with the dancefloor in mind, while still retaining the introspective quality that characterizes much of her music.
Collaboration is a fundamental aspect of Davidson’s artistry. Her husband, Pierre Guerineau, and the Belgian electronic duo Soulwax contributed fresh dimensions to the ‘City of Clowns’ project. “Pierre and I have collaborated for years, which gives us a deep understanding of each other’s strengths. Inviting Soulwax into the mix added a new layer to the project. Songs like ‘Sexy Clown’ wouldn’t be the same without their involvement,” she reveals.
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Marie Davidson’s partnership with Soulwax marked a pivotal moment in her career, propelling her to international recognition. In 2019, Soulwax’s remix of her impactful track ‘Work It’ into an industrial house version received significant praise. She describes the moment of breakthrough as surreal. “I created that track just before heading out to perform in Europe, aiming to craft something that would get people moving,” she recalls. “I never anticipated its success. Both the Soulwax team and I often say that track seemed to take on a life of its own. I knew things had shifted when fans expressed their excitement about hearing it live.”
While the album tackles profound themes, Davidson’s trademark playfulness is evident. Tracks like ‘Fun Times’ juxtapose humor and lightheartedness with deep reflection, challenging societal norms with lines like, “You make babies, I’m having fun.” Reflecting on her choice to forgo motherhood, she states, “I’ve realized that I don’t need children to feel fulfilled. My art serves as my legacy.”
Ultimately, Davidson hopes ‘City of Clowns’ encourages listeners to contemplate their own humanity. “The album revolves around observation and reflection. It’s personal, political, and playful. I want people to consider who they are and the world we inhabit.” In an era where technology
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From her initial creation ‘Perte d'identité’ to her innovative inquiries on ‘Renegade Breakdown’, Marie Davidson has consistently defied categorization.