Rating:
Genre:
Rock
Release Date: 10/26/2004
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.
~Johnny Loftus, All Music Guide
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