by Death From Above 1979.
Great rocking out music with fat bass riffs and good rhythm section, which is basically all it is. Wire meets Sabbath.
The band, who had to change their name to avoid confusion (not to mention potential legal hassles) with the New York production team DFA, have managed to record an album that offers much more depth from such a simple arrangement than one would expect. The primary reason the album works so well is due in large part to bassist Jesse Keeler; sounding like a coke-fueled Geezer Butler channeling Fugazi, his basslines are especially nimble, his fast-picked notes coming from all over the fretboard, from extremely low, heavily distorted tones, to more mellifluous, upper-register licks, to all-out dissonant screeches. The key factor is that his performance is so versatile, you forget he's playing bass, his performance boasting the dexterity of an 80s metal virtuoso (Billy Sheehan, eat your heart out), but without all the pretension. Singer/drummer Sebastien Grainger is equally strong, providing muscular punctuation to Keeler's basslines, but at the same time, adding some variety to the proceedings with deft rhythmic changes, veering from straight-ahead punk, to disco-fused hi-hat workouts, to fabulous conga breakdowns, to the ever-reliable, much-loved cowbell.
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