Working Class Woman

Drawing on those experiences, as well as an array of writers, thinkers and filmmakers who’ve influenced her, Davidson’s response to such difficult moments is to explore her own reaction to them and poke fun. The sound of Working Class Woman is more direct than any of her previous outings. She still mines the same influences, from Italo Disco, to proto-industrial and electro, but leadens them with a gut-punching weight, making for a record that’s more visceral than any she’s released before. Industrial heaviness is balanced by Davidson’s spoken text – rather than spoken word, which she sees as a distinct tradition – dark, textured soundscapes are counterweighted by statements that carry a more darkly humourous edge than before, making observations on both aspects of club culture as well as more oblique critiques of the modern world. It’s something that’s encapsulated in the driving momentum of lead single So Right, released today alongside a remix from John Talabot: it matches pared back lyrics with a melodic bassline and bright synths, her words sketching out a euphoric feeling that chimes with the music. The record is informed by a career which has spanned an ambient-influenced album as Les Momies De Palerme for Montreal’s Constellation label (home to Godspeed! You Black Emperor); her synth-disco styled duo DKMD with David Kristian; and Essaie Pas, signed to DFA, and with whom she’s shaped minimal synth and "cyberpunk coldwave” (The Guardian) sounds into a fresh mould, in partnership with husband and collaborator Pierre Guerineau.