Working Class Woman – Marie Davidson | Techno That’s A Little Bit Terrifying | Album Review

Working Class Woman - Marie Davidson | Source: Official Album Artwork 2018

If you were to question me on my personal favourite record labels, Ninja Tune would be one of the first names to fallout of my mouth. It’s pretty much guaranteed that if an album is released on the infamous label, then I’m probably going to like it. ‘Working Class Woman‘, the latest album from Marie Davidson, is absolutely no exception to the rule, only going to once again prove why Ninja Tune are the best label for finding wonderful, left-field releases that beg you to listen to them from start to finish, no matter how challenging they may become.

It’s very difficult to know where to start when it comes to this particular collection of works, so we’ll start from the beginning (a very good place to start don’t you know?) with ‘Your Biggest Fan‘. Straight off, the darkness has enveloped our ears and we’re on the direct path down F***ed Up Village. Sub-bass drops and growling kick drum hits form the basic for a collection of airy synths and a collection of almost rain-like sweeps of electronic, coupled with a sinister spoken-word vocal that builds in intensity, never letting go. Yet, despite it’s claustrophobia inducing grip on the listener, it never relieves into a satisfying conclusion, which would be a negative when it comes to pretty much any other piece of music, yet here it works. An abrupt ending brings on what can only be described as ‘ASMR NIGHTMARE WHISPERS‘, before the rest of the album takes us on a whirlwind of insanity.

Tracks like ‘Work It‘, ‘Lara‘ and ‘Burn Me‘ keep those late-night, dark-room Techno vibes pumping, proving that ‘Working Class Woman’ isn’t just a creation made to disorientate the senses, but stands up strongly as a contender to be one of the best records for any self respecting DJ to have in their arsenal. All three of the aforementioned tracks are Disc Jockey weapons-grade potential if dropped at the right moment, in the right room. Yet, there are also moments of borderline tenderness to be found, particularly within ‘Day Dreaming‘, which sees icy chimes and heavenly pads combine to support more spoken-word vocals, which offer a surprisingly deep and introspective look into  the world that Marie Davidson has created for this album:

Living is not a job.
No one will do it for you.
When you’re alone, you’re alone.
Few years to live then you’re gone.

Whether these are lines from our leading ladies own thoughts or just that of a character created for this album, I guess we’ll never know…

Of course, sensitivity is not the order of the day here. Pure mind-screwing Electronica is what we’re listening for and the rest of ‘Working Class Girl’ supplies it in abundance. Whether it’s the flat-out psychotic horror of ‘The Tunnel‘ (a piece that could genuinely make even the toughest of tough folk flee in sheer terror), the frantic wall of noise that makes up ‘Workaholic Paranoid Bitch‘ or the Sci-Fi crossed with French Poetry (yes, you read that right) of ‘La Chambre Intérieure‘, ‘Working Class Girl’ does not let you rest for so much as a second through it’s entire run-time.

This isn’t an album for the faint hearted. In fact, we’d only recommend it to the most most exploitative and open minded of electronic music lovers in it’s entirety. Yet there’s no denying, Marie Davidson has really nailed down onto something utterly unique and really rather special here.

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