Crack

Of the numerous band reformations that have taken place over the last decade or so, there are few more surprising than Death From Above 1979’s earlier this year. It’s pretty well documented that Jesse F. Keeler and Sebastien Grainger’s disdain for each other was the catalyst for their split in 2006. And although the “musical differences” cliché wasn’t rolled out on that occasion, the Toronto noise-punk-dance duo haven’t exactly been making similar music since going their separate ways; Keeler has been focusing his attention on electro-house outfit MSTRKRFT, whilst Grainger has toyed with a straighter alt rock solo career, and provided vocal cameos for the likes of Does it Offend You, Yeah? and Data.

DFA’s short career makes them a very different entity to other groups that have famously reunited in recent years. Still in their early thirties, they’re younger than those other bands were when they split, whilst having only a modestly sized back-catalogue to show for their time together; 2004’s blistering and perfect You’re a Woman, I’m a Machine is their only full-length LP. By far the most exciting and original mid-noughties of-the-moment bands (sorry Test Icicles), this felt like the credible punk break-up of a pairing that had taken things as far as they could.

With the above in mind, the duo taking to the stage together at the Academy tonight still seems a surprising sight, but it’s a welcome one. The foreboding piano intro to Turn It Out is broken with thrashing drums and that brash, robotic bass sound that still sounds completely unique to this band. It’s almost like nothing’s changed. Jesse looks the same as he did before the split, clad in black and sporting a trademark handlebar moustache, whilst Sebastien contrasts in all white and a bleached mop of hair. For a moment, there’s no question that this reunion was a good idea.

But there are reasons to be cynical about this last hurrah. In line with other recent reunions, DFA have returned a bigger band the second time around, playing much bigger venues and undoubtedly raking in some serious dough along the way. Whilst this is still all brilliant, on tonight’s evidence there’s little to satisfy those who had hoped that there might be more to it than just money. To the ear, the songs are as brash and exciting as ever, but the grandiose surroundings of the Brixton Academy within which Keeler and Grainger have apparently not rediscovered their bond, serve as a reminder that the DFA moment has long passed, and this short reunion will ultimately be just a happy footnote.

For now though, it’s time to enjoy. Feelings of cynicism are reserved for the one slow number of the night, Black History Month, when there’s actually time to contemplate. Sensibly, they tear into a vicious rendition of Pull Out immediately after and all is forgotten. In that respect, it’s probably a good job that they left Sexy Results off the set list, although the inclusion of their longest song would have helped pad out an EP and album’s worth of material a little longer. Indeed, it’s those short and nasty bursts like Dead Womb and Cold War that serve as tonight’s highlights.

The fact that their set barely surpasses the hour mark is irrelevant – anything more would only serve to further contradict what this band were always about. Yes, Romantic Rights is embellished to twice its original length, but you’d have to go a long way to hear anything better that the final chorus drop. Cashing in never sounded so good.


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Words: Jack Bolter

http://www.deathfromabove1979.com/