RIYL: Noise Unit; Peaches; the ending of The VVitch
“Empowering” is a word that shows up a lot when talking about music with a feminist fire at its centre and its over usage can suggest “empowering” music grants something within the listener that wasn’t there before. In the case of Montréal’s La Fièvre, this electronic duo are neither giving nor asking for authority, simply locating it in the ways it already manifests within themselves and those in the margins.
Ominous electronics introduce the album before Zéa and Ma-Au (Joséane Beaulieu-April and Marie-Audrey Leclerc) declare that their music is broadly for people in the peripheries of society, a fiery commitment that engulfs the record’s entire 32 minutes: “Faudra faire mieux” is a demand for change and repudiation of being silenced that invokes the natural world; “La Marge” pairs their anti-athoritarian intensity with sirens and buzzing synths to call out the violence against marginalized people, and finds hope in resistance; “Écofeminites” links cultivation and working with the land with further resistance, and its slinking, danceable beat hints at the growing sexual innuendo that also pervades the song.
The music of La Fièvre’s self-titled debut album unapologetically reveres the power of femininity, and does so by rooting that power in another constant and enduring force: nature. They approach this work enthusiastically, artfully, and resist falling into the trappings of any gender essentialism in the process by situating these themes within a deeper set of radical politics.
– Michael Rancic