You're A Woman, I'm A Machine＜Pink/Silver Splatter Vinyl＞

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

ウォ－、むちゃカッコいいメタリック爆裂ガレ－ジ!　でもなんかヘンだぞ?　最初は伊藤潤二画伯の不気味絵みたいなジャケのせいかと思ったが、よく聴いてみりゃギタ－・サウンドが入っていない!　カナダ出身のハ－ド・エッジな轟音2人組だが、この手のサウンドを指向しながらギタ－レスとは大胆不敵。けれど、それを微塵も感じさせないほどに凶暴なシンセ&ベ－スが空間を埋めつくして窒息寸前!　この音はかなり革新的だ。
bounce (C)北爪 啓之