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Artist......: Marie Davidson & L'îil Nu
Album.......: Renegade Breakdown
Label.......: Ninja Tune
Genre.......: Electronic
Catnr.......: ZENCD267
Source......: CD
Rip.date....: 2020-12-05
Str.date....: 2020-09-25
Quality.....: 889kbps / 44.1kHz / 2 channels
Url.........: http://www.ninjatune.net
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\ / # title time \ /
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1. Renegade Breakdown 6:13
2. Back To Rock 7:26
3. Worst Comes To Worst 4:11
4. Center Of The World (Kotti Blues) 5:09
5. La Ronde 2:28
6. C'est Parce Que J'm'en Fous 3:40
7. Just In My Head 6:04
8. Lead Sister 6:06
9. My Love 5:48
10. Sentiment 5:38
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\ / ________ Runtime 52:43
,\ /... . . .... .... \ / ' Size 353.48______
:\/ ', \ / , \ /
' '... ..\ /.. .. .....:. .. .... .. . ..\ /.
: Release Notes: \/ , \/ ,
' '
,: Always ahead of a trend, Montreal musician and producer Marie :,
: Davidson quit touring in September 2019, six months before :
:' everyone else did. Years of vigorous, largely solo travel ':
,: behind 2016's Adieux au Dancefloor and 2018's Working Class :,
: Woman left her depleted and addicted to the sleeping pills she :
:' used to cope with insomnia, she told the CBC. Plus, she was ':
,: tired of club music. "I want to make chansons, you know?" she :,
: said. "I want to tell stories and sing." :
:' ':
,: Marie Davidson & L'îil Nu, Davidson's first project since :,
: stepping back, features her vocals and synth against backdrops :
:' she constructed with two close collaborators: Pierre Guerineau, ':
,: her husband and partner in the synth-pop duo Essaie Pas, and :,
: Asaδl Robitaille, who helped to produce songs on Working Class :
:' Woman and Essaie Pas's 2018 album New Path. Renegade Breakdown, ':
,: their debut release, is a self-consciously odd and varied :,
: collection of classical pop songwriting, lounge music, :
:' '80s-inspired synth-funk, and moody chanson. ':
,: :,
: Not that you'd know it from the opener, where a heavy :
:' four-on-the-floor beat animates one of Davidson's signature, ':
,: biting, voiceover-like spoken performances. "By the way, there :,
: are no money makers on this record/This time I'm exploring the :
:' loser's point of view," she quips. "The uglier I feel, the ':
,: better my lyrics get." Think of this as the "old" Marie :,
: Davidsonùthe one we're used toùintroducing a new version, who :
:' rejects aesthetic posturing and thinks the dance music industry ':
,: can keep it, all of it: "Your science is a poison I can no :,
: longer ingest/Take your prescription and shove it up your :
:' assàYour party sucks anyway." ':
,: :,
: Guerineau and Robitaille match her commitment to being :
:' unfashionable. They fill the album with rhythms and textures ':
,: that feel dated and chintzy to contemporary ears, like the :,
: digital MIDI-funk and cheaply gated drums of "C'est parce que :
:' j'm'en fous," or else dated and spooky, as on "La Ronde," where ':
,: a tuneful, saccharine chanson is overtaken by screeches and :,
: tolling bells. As Renegade Breakdown cycles through styles, the :
:' only constant lies in lyrical nods to the anxiety and ':
,: dislocation of solo travel and the effort required to steady :,
: oneself. "I keep my fingers crossed as the plane is taking :
:' off/I'm feeling kind of lost/Today I'm back to rock," Davidson ':
,: intones on "Back to Rock," the album's second track: seven and a :,
: half dirge-like minutes of AC/DC guitars and "Mad World" :
:' interpolation beneath thick synthetic smog. While the title and ':
,: placement imply a formal disavowal of electronic music, the :,
: sheer unearned indulgence presents its own critique. "Drive me :
:' somewhere nice/Give me loads of ice/I love my drink real cool," ':
,: Davidson demands in the intro, as if riffing on a tour rider. In :,
: classic Marie Davidson style, the outright criticism of one :
:' thing is also a silent, tacit criticism of everything not ':
,: mentioned. :,
: :
:' Renegade Breakdown isn't the sound of solitary days and nights ':
,: on the road; it's the noises and voices filling the empty space, :,
: a reckoning with the ironies and tragedies of life as a :
:' musician. "Just in My Head" confronts the dissociative feeling ':
,: of showing up to the club and hating every minute: "Sitting in a :,
: corner waiting for the show to be over à Is it that something is :
:' changed? Why the music feels lame? Why do I feel so blue?/Or am ':
,: I going strange?" The song itself sounds more like the forlorn :,
: jazz of a vacant hotel lounge, or Angelo Baldamenti's skulking :
:' "Audrey's Dance" from the Twin Peaks score. On "Lead Sister," ':
,: Davidson laments Karen Carpenter's fatal struggle with anorexia, :,
: singing ominously in French about an "angel voice" who becomes :
:' "overexposed" and then consumed by the "somber idea of ':
,: perfection." :,
: :
:' As a downcast lounge performer with an edge of sing-talk in her ':
,: voice, Davidson is remarkably convincing, and as a series of :,
: experiments, Renegade Breakdown never fails to be interesting. :
:' What it lacks is the urgency and stylishness of Davidson's past ':
,: albums, which is almost certainly the point. Not every fan of :,
: her dedicated club output will appreciate a song like :
:' "Sentiment," the twinkling French-language closer that evokes ':
,: the overture to a '60s art film, complete with the gentle whirr :,
: of a projector. Nor, I suspect, does she want them to. Even as :
:' its musical forms and source material remain familiar, Renegade ':
,: Breakdown is a work of knowing misdirection, a way of staking :,
: out new creative territory that's challenging, idiosyncratic, :
:' and proudly uncool. ':
: '
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\ / H O U N D \ /
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