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You're a Woman, I'm a Machine

Death from Above 1979

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Album Review

Death From Above 1979 makes their considerable racket with only bass, drums, and the occasional Moog squelch assist. This isn't a gimmick — between Sebastien Grainger's frantic wail and the overdriven bass riffs of Jesse F. Keeler, the duo's You're a Woman, I'm a Machine pulses with a steady, sweaty energy that's punctuated with arena-sized hooks. "Blood on Our Hands" boils dance-punk nearly all the way down, leaving only a relentless hi-hat cymbal, while "Turn It Out" and "Cold War" churn on double-time rhythms and rudimentary, yet completely effective bass runs. The duo's setup certainly limits their range, which means the album can occasionally resemble one long song. But at just over a half-hour, it's over before any questions about the lack of guitars can even start to form. There are hyper indie rock flare-ups, like in the Hot Snakes/Rocket from the Crypt yelp of "Going Steady." And "Sexy Results" is a flirtatious and amplified cross of new wave and Rapture-style strut that comes complete with a cowbell upbeat. Preoccupation with the opposite sex provides some of You're a Woman, I'm a Machine's strongest moments, from Grainger's "I don't need you/I want you" clarification on "Romantic Rights" to the frenetic late-album standout "Pull Out." Other highlights include the title track's layered vocals and wiry punk revivalism, and the subtler "Black History Month," which is a nice break from the record's consistently jerking pace. In the 2000s, dance-oriented energy keeps creeping regularly into rock & roll. On You're a Woman, I'm a Machine, Death from Above 1979 makes people move by exposing the live-wire tension rock music had all along.

Customer Reviews

Fantastic Album, Different From What I Normally Listen To.

These guys are just amazing. Death From Above 1979 is a duo from Toronto (I believe) and I had never heard of them until they stopped by my home town (Halifax) last winter. I didn't see their show, which is a shame, but the local independent paper ( sparked my interest in them. They are a very hard rocking and high energy group. My first listen, I was actually kind of taken a back by how raw it felt but after listening to "Little Girl" about 5 times I was in love with the band. Great music to drive to, and good music to run to. I am really glad I decided to pick up this album, and would recommend it to anyone that is in the mood for something with a lot of energy, even has a bit of a dancy feel to it. Don't let the chaos of the opening moments of the first song deter you. I favourite singles: "Little Girl", "Romantic Rights" and "Going Steady" To see what else I am listening to, go to:

Number 1!

I probably can't say I've ever bought an album as great as this. Every single song on the CD is catchy and amazing. Blood On Our Hands, Black History Month, and Going Steady are must hears. As is the entire CD. If you like alternative bands, Smashing Pumpkins, Franz Ferdinand, or Radiohead, Queens of the Stone Age. This band is definately for you. The bass play is amazing, like downright amazing in every song. Keep it up DFA79.

A new kind of rock!

I bought this album about two months ago and the more I listen to it, the more I like it! I must admit that it took me few listening to really enjoy the special sound of the band. I think it's fair to say that this band offer a new kind of rock, wich is a good thing. You're a Women, I'm a Machine is a record you'll like to listen to in your car, at a party or when you workout. So, what are you waiting for?


Formed: 2000 in Toronto, Ontario, Canada

Genre: Alternative

Years Active: '00s, '10s

The high-energy, high-volume duo Death from Above 1979 made an immediate splash upon their debut in 2004 with You're a Woman, I'm a Machine. Bassist/synth player Jesse F. Keeler and drummer/vocalist Sebastien Grainger both hailed from Toronto, where they met and formed Death from Above in 2001. (The "1979" tag was added later, following a legal spat with the U.S.-based music collective DFA.) Without a guitarist — or any other bandmember for that matter — Keeler and Grainger were free...
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