A long-standing figure in Montreal’s independent scene and former frontwoman of cult outfits Duchess Says and PyPy, Annie-Claude Deschênes has carved out a solo path rooted in dystopian techno, minimal pop and electronic experimentation. Her debut album, ‘LES MANIÈRES DE TABLE’, out now via Bonsound and Italians Do It Better, turns social codes and table manners inside out, while her live performance adds a deliciously chaotic touch — think club music, theatrical precision and a few dollops of whipped cream.
Inspired by the pioneers of electronic music, ‘LES MANIÈRES DE TABLE’ is as danceable and melodic as it is disquieting and dystopian. The album proposes to set the table differently by deconstructing the social codes of politeness, and draws from a wide range of influences, notably Steve Reich’s minimalism, Kraftwerk’s synthetic textures, Herbie Hancock’s stylistic diversity and experimental cinema’s unconventional approach to narrative. Check out the album HERE.
Annie-Claude performed live in Brighton in May as part of The Great Escape new music festival. We caught her show at Patterns on 14th May – here’s our account of that set:
ANNIE-CLAUDE DESCHÊNES – Patterns (Downstairs), The Great Escape 14.5.26 (22:30 – 23:00)
My second Escape day closes with the arrival of Montreal’s Annie-Claude Deschênes, who is accompanied by her friend who she introduces as I think Anthony Piattza, who takes care of the live video feed which is shown on the rear of the stage. The next 30 minutes isn’t strictly a music only performance, but it’s thinking outside of the conventions and into the art world. For instance, there’s a small circular table with two chairs sitting in amongst the audience area, it’s not for a romantic meal for two but for Annie-Claude and Anthony to perch upon whilst they consume small green jellies and squirty cream. Annie-Claude makes several forays into the crowd and on one occasion, those that could, were encouraged to crouch down. On the music front it’s retro 80’s electronic vibes that would be lapped up by any self respecting Blitz Kid or Hi-NRG Eurobeat fan, with no compositions outstaying their welcome. Despite there being a Pioneer CD deck arrangement with Korg electronics and other keys on the go, for the final number Annie-Claude literally invited the whole venue to join her on stage. Many did and it was like sardines up there. It was an entertaining set, even if the music did cut out twice. (Nick Linazasoro)
Annie-Claude has now announced a welcome return to Brighton by tagging on a date at The Prince Albert on 17th October as part of her tour. Expect an evening that feels equal parts provocation, spectacle and release.
Support for this concert comes from Solid Pleasure and Everyday Saints.
Neave Merrick and Lucy Milani are two synth freaks who bonded over mutual obsessions – Italo disco, lo-fi synth-pop, acid house, no wave, Lynchian dream-logic, and Giallo’s blood-red glamour. Their sound is what happens when all those worlds collide: neon romance, industrial pulse, and cinematic dread fused into something sleek, beautiful, and undeniably theirs.
Everyday Saints is an alternative pop project from Brighton, formed by vocalist-producer Pip Rainbird and bassist Mimi Holder. The band combines a dark Lynchian aesthetic with themes of obsession, yearning, and existential dread, combined with a high energy electroclash stage show.
Tickets for this Brighton concert are on sale now and can be purchased HERE.
www.bonsound.com/fr/artiste/annie-claude-deschenes
