Death From Above 1979

You're A Woman, I'm A Machine (2004)

Adam White

With one of the few absolutely essential records of the year, Death
From Above 1979 step around and over the lines drawn in the indie sand
with a sound and style that fits nowhere but can be appreciated
everywhere. You're A Woman, I'm A Machine hits the sweet spot
between that time-tested garage swagger and genre-shattering
originality. Here you have the gritty toughness of a buzzsaw blues riff
coupled with the shameless sexuality of a danceable post-punk beat. The
soundscape painted is dense and busy with a heavy low
end yet is at the same time fluid and quickly moving, a pairing that gives
You're A Woman, I'm A Machine some of the sharpest hooks and
most infectious songs of any record this year.

The most remarkable thing is that this is all from a two-piece! That
fact alone must shock those that have experienced DFA'79 as faceless
audio alone, for the band sounds absolutely huge on record. Furthermore,
there's nary a proper guitarist in sight. Death From Above is two
members of Toronto hardcore band Femme Fatale, although as this record
continues to blow up that's looking more and more like an unimportant
footnote. Drummer Sebastien Grainger takes on vocal duties while Jesse
Keeler doubles on bass and synth as needed. Keeler's playing is
commendable in that, through a wall of distortion, he gives an instrument
so often resigned to the background remarkable prominence. The instrumentation has far more life and energy than it seems on paper and gives Death From Above an unmistakable sound.

You're A Woman, I'm A Machine is a collection of break-up songs
seen through a bitter, aggressive and overtly sexual filter. "Turn It
Out" kicks the album off with a heavy cacophonous stomp, instantly
laying the sonic groundwork for what's to come. The following single
"Romantic Rights" likewise cements the lyrical themes and shows off
just how effective the band's deep and danceable grooves can be. Punk
energy permeates "Blood On Our Hands" with Grainger's soaring vocals in
the chorus cementing it as one of the album's best cuts. The band's hardcore
roots also show through on the title track, which pushes Keeler's
playing to an impressive speed. Yet it's in the combination of the
aggro moments and downright funky jams that make the record
something special. The last two tracks are a perfect example:
the lunatic screaming and chaotic song structure of the sleazy "Pull
Out" should win over Blood Brothers fans in a second while the
album-closing "Sexy Results" features more ass-shaking rhythm than most
so-called "dance punk" bands could ever muster. Hell, it even rocks the
cowbell for good measure.

They don't make `em with this much personality anymore. Death From
Above 1979 do something shockingly out of character for this decade by
writing music that's hook filled and accessible yet clearly unique and
accomplished. That highbrow indie publications can debate the depths of
Grainger's damaged love while at the same time normal folk can just
ignore it and dance is a marvel in itself.