4/27/17 – Death from Above 1979 “You’re a Woman, I’m a Machine” (2005)

You’re a Woman, I’m a Machine was one of my favorite albums I listened to in high school, and one that I still revisit now and then. I was surprised to see that this album came out in 2005, but then again 2005 was 12 years ago. Death from Above 1979 is the combination of drummer/singer Sebastian Grainger and bassist Jesse F. Keeler. They’re already unique in that aspect of having the singer playing drums, but they’ve only got a bass guitar and the occasional keyboard to fill out the sound of the band. Jesse Keeler’s bass playing is like how a guitar player would play bass, it sounds like a very rough and fuzzy electric guitar, and that on it’s own is attention grabbing. Their sound is loud and in your face, a very energetic Punk-Rock with heavy emphasis on catchy rhythms and rugged production.

Turn It Out starts off the album by kicking your ass with some wonderfully horrid screeching produced by Jesse’s bass and Sebastian’s blood pumping drums. The guitar riffs are just top notch on this song, my favorite being during the chorus and bridges. Going Steady has the classic pop technique of mirroring the melody with the vocals, and it works strangely well with their rough sound. I really love how natural their sound is together once you’re adjusted to it, I think the two make a great pair.

Blood On Our Hands puts the the spotlight on Sebastian’s singing, and he’s got a great Emo/Punk voice to match their music well, even though it’s not my favorite style of singing. Even after watching footage of them playing live I’m still amazed that he’s able to sing and play drums so effectively. There’s a nice short interlude at the end of this song to pallet cleanse before one of their catchiest songs, Black History Month. That song will, above all the others on this album, creep into my mind as I’m driving or walking. Little Girl is probably their most “White Stripes” sounding, but that doesn’t mean it’s awful by any means, just that I’m always reminded of Jack White on this track.

Up next are a trio of very high intensity songs,  very short, fast, and sexually charged. This is probably my favorite chunk of the album in all, it’s where I think their sound works best in. The riffs stay equally catchy and the speed at which they’re played just intensifies everything. The song Pull Out is about… exactly that. Sexy Results caps off the album on what first sounds like a chilled out vibe but never gets too smooth, they still retain their Garage-Rock fuzz. This is a pretty popular album but I think it’s required listening for Rock and Punk-Rock fans, and really does stand up to the test of time. If this doesn’t get your blood pumping, then nothing will.