Liverpool Sound and Vision Rating * * * *

We live in a microcosm that is ruled by psychopaths and sick-minded individuals, a town hall filled with fools and inhabited by a City Of Clowns bent on anarchy and chaos of the mind. It’s perhaps to the make-up of these lawlessness states of being that the scathing nature of Marie Davidson’s brand-new album hits home with such power, with a scathing rebuke of the antagonist shaking their head at the insanity of it all.

Marie Davidson’s 6th studio album revels in the desire to bring Big Tech down, and driven by inspiration from Shoshana Zuboff’s book, The Age of Surveillance Capitalism, the anger of economic oppression is given short shrift, it is the proof in song and thought that the governments are happy to see tech giants enslave us in a new form of slavery.

As the artist expands on her truth, the proof of her delivery is held in a darkness of that oppression, the alteration in our habits, in the way we interact with each other, the misery of exploitation, it must, and will come to a head, but it requires more people to understand, and Marie Davidson is the rallying call to get behind.

Across tracks such as Demolition, the irresistible Sexy Clown, Push Me Fuckhead, Statistical Modelling, Contrarian, and the two versions of Y.A.A.M., Ms. Davidson merges ferocity of spirit with an admiration for those who utilise humour as a weapon, the observational heroes such as Bill Hicks and George Carlin, the nihilists, the radicals and the revolutionaries, those to whom we miss because they at least opened our eyes.

It is in this that Marie Davidson’s own force adds to the weight of discussion of how we are being used by corporations, of how at some point China’s exercise of social points will be disgustingly abused by western governments and with all the help from Big Tech.

An album that hits with a force of a hammer against the chest, broken dreams and images, but all in the cause of being an artist attempting to open the eyes of the audience.

Ian D. Hall