Death From Above ‘I wanted to get arrested. I felt fearless’
For a year after Sebastien Grainger, drummer and singer in Death From Above , met the woman who would become his wife, his mother kept photos of his ex-girlfriend on the wall of her house. “I’d be like, ‘Can you take those down now, please?’” Grainger says, “and she’d go, ‘But she was such a great girl and I really loved her parents.’”
Comparable was the situation with his band, a dance-rock two piece, after he and bassist Jesse F Keeler broke up in with just one album out, ’s much-loved You’re A Woman, I’m A Machine. Grainger subsequently released solo records, Keeler made dance music in a duo called MSTRKRFT, but people kept asking about Death From Above “It really was like breaking up with a girl,” Keeler says. “I wanted to move on, but everyone would ask, ‘How’s she doing?’ I’d reply, ‘I don’t fucking care!’”
The split was acrimonious. The pair had grown to hate one another and, in the five-year period before they re-formed in , there was no contact between them at all. They didn’t listen to each other’s new records. Keeler gave up playing his bass. When he took it out of its case for the first time since Death From Above ’s final gig in November , it had the same strings on it. It was also, he says, “permanently warped”.
Today, the duo are not only back together, they’re in London pushing a second album, The Physical World, to be released on Tuesday, 10 years after their debut. When they first reunited, they refused interviews, leaving fans none the wiser about why they re-formed and what went wrong before. It seemed typical of a band that, first time round, could be aggressive to the point of boneheadedness. In , New York’s DFA Records sent them a cease-and-desist order, forcing them to add the “” to their name. They responded with an all-caps blitzkrieg: “FUCK DFA RECORDS FUCK JAMES MURPHY WE DECLARE JIHAD ON THEM HOLY WAR ENDING IN THIER DEATH AND DISMEMBERMENT.”
Journalists got short shrift, too, and I fear the worst for this interview when they say they’ve come straight from the airport, jetlagged. Then, as I sit down to join them, Grainger notices a question I’ve written down. He says: “‘How much did we get paid to play Coachella in ?’ What the fuck?”
DFA were always more pernicious than the dance-rock bands they were compared with – closer, perhaps, to other noisy two-pieces such as Lightning Bolt than they were to Yeah Yeah Yeahs or the Rapture – but their songs were also sensual and romantic, which helps explain You’re A Woman, I’m A Machine’s enduring appeal. It combined a sonic malevolence with tenderness: a punk-rock torch-song album for the young and horny. “I will never hurt you, lover,” sings Grainger on Going Steady, while on an early, obnoxious song called Dead Womb he reveals a desire to conform: “We’re looking for wives/ So tired of sluts coming up to us in clubs with their cocaine.”
“It wasn’t meant to be hateful song,” Grainger says, “I just liked saying outrageous things.” And as for declaring jihad on DFA Records, he says, “That was our attitude then and we now know that [label boss] James Murphy wasn’t involved in the cease-and-desist. He was on honeymoon. Their lawyer dumped it on us…”
“…and we exploded,” Keeler says.
Now aged 35 and 37, Grainger and Keeler are older, wiser and – it turns out – happy to answer every question the Guide throws at them. Coachella didn’t pay them to re-form; the band approached the festival and, though they played the main stage, they were paid a side-stage fee. They also speak articulately about their falling out.
Prior to forming Death From Above , Keeler, whose father was a guitarist in an early incarnation of Steppenwolf and played in Parliament on their Chocolate City album, worked for a company that sold diamonds, then became its stockbroker, affording him a house – an old funeral home – before he’d made any money from music. He has an insane work ethic and it was matched by Grainger when they hit the road. They said yes to everything, putting intense pressure on the band – and their friendship.
“We didn’t think about ourselves,” Keeler says. “We’d load our stuff in, play the show, pull it out, and drive five hours to the next show.”
“A suicide mission,” Grainger calls it.
“Then people started giving a shit about the band,” Keeler says. “We were getting recognised on the street and… drinks were free!”
Grainger wasn’t a big drinker, but within their crew, he says, “There were was a faction that wanted to get fucked-up. Me and the tour manager were doing clay masks and watching shit on TV, and then there was the party bus with Jesse on it. That drew us apart.”
“Also, we weren’t making new music because we were always on tour,” Keeler says. “It was like we became our own cover band. I felt like Sebastien was sick of it, and I was behaving like I was”
They admit they were terrible at talking things through and, as Keeler says, “Most of the writing we do is psychic. Songs are written without us speaking.”
It was only in late that they started to speak again, with Grainger initiating the reconciliation. He sent Keeler an email and they met in a diner in Toronto where they used to eat after hitting the local bars.
“I had no ill feelings towards Jesse,” Grainger says, “but I felt like I had a loose end. The hardest part was communicating. Even when I said, ‘Our band might be cool to think about again,’ it was a great relief.”
They knew the group had grown in stature since they’d split, yet nonetheless had doubts about re-forming; but they played a comeback gig at South by Southwest the following March and caused a riot. One angry fan who couldn’t get in punched a police horse outside, cops rammed the stage and the gig was shut down. The band were delighted. “I wanted to get arrested,” Grainger says. “I felt fearless.”
It’s that fearlessness which the band bring to The Physical World, a cleaner, poppier album than their debut, but a highly political one, particularly on latest single, Government Trash.
“I’m happy that song came out just as crazy shit was happening in Ferguson, Missouri,” says Grainger. “The second verse was written while watching Boston being occupied by police after the marathon bombing. What the fuck was going on? That shit happened at the G20 summit in Toronto in , too; kids got thrown in jail for absolutely no reason.”
Their point is clear: of course they re-formed for the money, but they also feel that music in needs them. “Things have become too earnest and soft,” Grainger says, and Keeler intuitively understands him.
“Making political music three years ago may have seemed ridiculous, but it’s got to a point now where music needs to have a harder feeling,” he says.
And how are they getting on? Great, they say, because they now think of their band as a third entity, separated from – and bigger than – themselves. “We can respect, observe and back off the band if we need to, which we didn’t do before,” Grainger says. “We don’t have to be in it all the time and that helps us appreciate it more.”
The Physical World (Last Gang/Fiction) is out on Tue
Death from Above (band)
Death from Above (also known as Death from Above) is a Canadian rock duo consisting of bassist Jesse F. Keeler and drummer and vocalist Sebastien Grainger from Toronto, Ontario, formed in The band released their debut album, You're a Woman, I'm a Machine, in and broke up in They reformed in and released their second album, The Physical World, in Since then the band has released 2 more albums, Outrage! Is Now in and Is 4 Lovers in
Formation and Heads Up (–)
Grainger and Keeler reportedly met at a Sonic Youth concert, though they sometimes jokingly claimed to have met in prison, on a pirate ship, or in a gay bar, leading some journalists and fans to believe these stories. Keeler has also said to have met Grainger when looking for a drummer to play in his hardcore punk band Femme Fatale, further stating "That's how Death from Above got started."
On December 15, , the band released their debut release, the EP Heads Up.
You're a Woman, I'm a Machine and break up (–)
The band began recording for their debut album, You're a Woman, I'm a Machine from February to April at The Chemical Sound in Toronto. Additional recording was done at Studio Plateau in Montreal and the album was engineered and produced by Al-P, with the exception of the Montreal sessions which were engineered by Drew Malamud. The album was released in October,  The band released three singles to promote, You're a Woman, I'm a Machine, these singles were "Romantic Rights" on November 4, , "Blood on Our Hands" on February 17, and "Black History Month" on June 13,  In , the video for "Blood on Our Hands" won a VideoFACT award at the MuchMusic Video Awards.
In , the band changed their name to "Death from Above " (previously named "Death from Above") due to a cease and desist letter that was filed against the band by James Murphy's label Death From Above Records. The band responded by attaching the legal minimum number of numerals required to keep the first part of the name. On MuchMusic's television program The New Music, Keeler further explained why the band split. He claimed it was due to disagreements with bandmate Grainger on many levels, including creative differences and musical style.
Reunion and The Physical World (–)
On February 4, , the band officially reunited.
The band performed a new song while performing at EdgeFest on July 14, at Downsview Park in Toronto. On September 18, , a Canadian tour was announced; the band revealed that they had written new songs, but needed to perform them live in order to "make them any good". On October 28, , the band's blog was updated as they built excitement for their string of shows around Canada. In the post, Grainger cited that they were "coming to share new material, and to work out the kinks". The band was originally scheduled to perform at Governors Ball Music Festival in June , but later announced that they were having unexpected trouble while working on new music and cancelled their appearance. On July 11, , the band confirmed that a new record is in the works on their Facebook page after cancelling European shows due to a "medical emergency". They did, however, perform at Wakestock Music Festival in August and Rifflandia in September. On July 8, , the band released a single, "Trainwreck ", and announced more details of their upcoming studio album, The Physical World. On September 9, the band released their second album, The Physical World through Last Gang and Warner Bros. Records.
On October 7, the band released a documentary Life After Death from Above . The documentary chronicled the history of the band and their reunion. It was directed by Grainger's wife, Eva Michon.
On April 22, , the band released a live album, Live At Third Man Records which was recorded in at Jack White's Third Man Records headquarters in Nashville.
Outrage! Is Now (–)
On June 6, , the band announced an official name change back to the original "Death from Above". Although the band has said their social media handles will keep the "" suffix, all future music and shows from the duo will reportedly arrive under the new name. Grainger said in an interview that the band decided to not include the "" suffix on a tour promo for their tour with the Eagles of Death Metal in early , "just to see what would happen" and the band received no legal issues because of it which led to them doing it again on their tour promo with Black Rebel Motorcycle Club and once again there were no legal repercussions. Sebastian has also said the making the album art for the band's single "Freeze Me" also was part of the decision, "The final straw was when I was making the art for our single ‘Freeze Me’. I wanted to write the name out in ice, so I went on Amazon and ordered an ice cube tray in the alphabet. It came and there were no numbers. That was that." Along with the name change, the duo announced the new single, "Freeze Me." The song premiered on BBC Radio 1 before its release on June 7.
Is 4 Lovers (–present)
In December , the band wiped their social media pages. A series of posts to their Instagram grid revealed the band's logo, followed by a teaser video confirming the band's name change back to Death from Above  After months of teaser posts, the band confirmed a new album on February 3  The album, Is 4 Lovers, was released on March The announcement coincided with the release of a new single, "One + One".
Throughout its career, the band has been described as dance-punk,noise punk, and punk rock. Grainger has stated when the band first started his and Keeler's aim was "to be as straight ahead as possible," and "to be the AC/DC of hardcore."Rolling Stone claims "Death From Above embodied the DIY dance-punk aesthetic that lived in home recordings and grimy basement clubs" and that the band's early work "combined noisy hardcore, gritty synths and earnest screams".
For a more comprehensive list, see Death from Above discography.
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- ^Hebblethwaite, Phil (). "Death From Above 'I wanted to get arrested. I felt fearless'". The Guardian. ISSN Retrieved
- ^"Some Words". DEATH FROM ABOVE Archived from the original on Retrieved
- ^"Ok". DEATH FROM ABOVE Archived from the original on Retrieved
- ^ ab"Death From Above detail new album, world tour". Consequenceofsound.net. Retrieved 21 October
- ^"Death From Above announce Third Man Records live album, share "Right on Frankenstein" — listen". Consequenceofsound.net. 20 April Retrieved 19 October
- ^ ab"Death From Above - Freeze Me, Jam sits in for Annie - BBC Radio 1". BBC. Retrieved 19 October
- ^" – DEATH FROM ABOVE – Sebastien on dropping the , his Ancient Fashion label, and DFA's latest single "Freeze Me"". audioBoom. Retrieved
- ^"Death From Above talk to us about their survival, 'Outrage! Is Now' and their name change - NME". NME. Retrieved
- ^"DEATH FROM ABOVE (@DFA)". Retrieved 3 February via Instagram.
- ^Strauss, Matthew. "Death From Above Announce Album, Share Video for New Song 'One + One': Watch". Pitchfork. Retrieved 3 February
- ^Trendell, Andrew. "Death From Above return with dance-y single 'One + One' and tell us about 'playful' new album 'Is 4 Lovers'". NME. Retrieved 3 February
- ^ ab"Why Death From Above Reunited After a Decade Apart". Rolling Stone. Retrieved
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- ^"Death From Above Showcase Live Show in New Video". Rolling Stone. Retrieved
- ^"There's 'Life After Death From Above' in the New Movie From The Band". Noisey. Retrieved
- ^"Death From Above 'We want to be the AC/DC of hardcore' - NME". NME. Retrieved
In June, Death From Above shared a new single, “Freeze Me”, along with an announcement that they were dropping the from their name and would be known simply as Death From Above. As most familiar with the band know, this was also the band’s original name; the was added only after a legal dispute with James Murphy’s Death From Above (DFA) Records. They offered no explanation at the time, but a new interview with the band’s Sebastien Grainger on Matt Pinfield’s 2 Hours with Matt Pinfield podcast has the answer.
According to Grainger, the was never something the band cared about or used amongst themselves. “We were having dinner one night and we were probably two bottles of wine deep and I was like, ‘Let’s stop using It’s too long, it’s a stupid, long name.'” Soon after the band went on respective tours with Eagles of Death Metal and Black Rebel Motorcycle Club, both times choosing to drop the in promotional materials. “No one said anything,” he explains.
But the official change was more of a happenstance than a calculated decision. As Grainger explains it: “When i came to make the single art for ‘Freeze Me’ I was trying to figure out what I wanted to do. The song is ‘Freeze Me’ so I took a literal approach and bought an ice tray that had the alphabet in it. I spelled out Death From Above, ‘Freeze Me’ [in ice] and there were no numbers in the ice tray. Had there been numbers in the ice tray, maybe ‘Freeze Me’ would’ve been a different thing. It wasn’t laziness, just logistics.”
So there you have it. The band didn’t have a sit down with Murphy or any representatives from DFA, nor was there any rebellious intent. “It’s our band name,” he says. “That’s what we called our band. No offense to anybody.”
Listen to the entire interview here.
Death From Above’s new album, Outrage! Is Now, is scheduled for release on September 8th and the band will be supporting its release with a lengthy North American tour. Check out their latest single, “Never Swim Alone”, below.
Death from Above discography
From Wikipedia, the free encyclopediaJump to navigationJump to search
The following is a discography of the Canadian band Death from Above.
- ^Outrage! Is Now did not enter the US Billboard , but peaked at number 59 on the US Album Sales Chart.
- ^Is 4 Lovers did not enter the US Billboard , but peaked at number 87 on the US Album Sales Chart.
- ^"Freeze Me" did not enter the Hot Rock Songs chart, but peaked at number 47 on the Rock Airplay chart.
Other charted songs
- ^"Death from Above Chart History: Canadian Albums". Billboard.com. Retrieved
- ^"Death From Above - The Physical World". ultratop.be. Retrieved
- ^"Discography Death From Above ". irish-charts.com. Hung Medien. Retrieved August 12,
- ^"デス・フロム・アバヴのアルバム売上ランキング". Oricon News (in Japanese). Retrieved
- ^Peaks in Scotland:
- ^"death from above | full Official Chart History | Official Charts Company". www.officialcharts.com. Retrieved
- ^"Death from Above Chart History: Billboard ". Billboard.com. Retrieved
- ^ ab"Canadian certifications – Death from Above". Music Canada. Retrieved September 26,
- ^ ab"Death from Above – Chart History: Album Sales". Billboard. Retrieved May 18,
- ^"Death from Above - Chart history | Billboard". Billboard.com. Retrieved
- ^"Death from Above Chart History: Canadian Hot ". Billboard.com. Retrieved
- ^ ab"Death From Above – Chart History: Canada Rock". billboard.com. Retrieved 13 August
- ^ ab"Mexico Ingles Airplay". Billboard. Retrieved 13 August
- ^Peaks in Scotland:
- ^"death from above | full Official Chart History | Official Charts Company". www.officialcharts.com. Retrieved
- ^"Death from Above Chart History: Alternative Songs". Billboard.com. Retrieved
- ^"Death from Above Chart History: Mainstream Rock". Billboard.com. Retrieved
- ^"Death from Above Chart History: Hot Rock & Alternative Songs". Billboard.com. Retrieved
- ^"Death From Above – Chart History: Rock Airplay". Billboard. Retrieved August 13,
- ^"Freeze Me / Keep It Real Dumb 7" Vinyl". Warner Bros. Records. Retrieved October 17,
- ^Atlantic Records (), Romantic Rights (video) (Album Version) MTV version, retrieved
- ^Atlantic Records (), Death From Above - Blood On Our Hands, retrieved
- ^lastgangrecords (), Death From Above - Black History Month (Official Video), retrieved
- ^Death From Above (), Death From Above - Trainwreck [Official Video], retrieved
- ^Death From Above (), Death from Above - Virgins [Official Video], retrieved
- ^Death From Above (), Death From Above - White Is Red [Official Video], retrieved
- ^Death From Above (), Death From Above - Freeze Me (Official Music Video), retrieved
- ^Death From Above (), Death From Above - Never Swim Alone (Official Music Video), retrieved
- ^Death From Above (), Death From Above - Caught Up (Official Music Video), retrieved
- ^Death From Above (), Death From Above - One + One (Official Music Video), retrieved
- ^Death From Above (), Death From Above - Modern Guy (Official Music Video)
From above 1975 death
Why Death From Above's alt-right controversy shouldn't come as a surprise
On October 25th, someone using the pseudonym Kurt Schwitterz wrote a Medium post documenting the relationship between Jesse Keeler, bassist of the Canadian band Death From Above, and Gavin McInnes, formerly of Vice Magazine and founder of the Proud Boys, an alt-right frat. The post initially alleged that Keeler was a Proud Boy himself. Heartbroken fans took to social media to express shock and disappointment. I'm relieved we still live in a culture where an artist's association with the alt-right provokes disgust and disavowal, but I am also genuinely confused by the surprise. Death From Above's brand has been hipster men's rights activists (MRA) from the start.
I've been trying to say this publicly for literal years. As soon as I heard "Dead Womb" ("We're looking for wives / So tired of sluts coming up to us in the clubs with their cocaine") I was irked. This was in The feeling stuck like sharp sand in a scrape. I wrote a bunch about it, but never published a word, for a couple of reasons.
First, I didn't have the vocab in the early aughts to say what repulsed me about the song. Second, I went to high school with the other member of DFA, singer and drummer Sebastien Grainger. I was part of the gaggle that sat around him on the lawn of the school while he strummed his guitar and sang U2.
We were still friends when "Dead Womb" came out — not close, but part of the same large, loose group. I asked if we could talk about the song for a piece I hoped to write. I interviewed him in his green living room, recorded it on cassette. We were both nervous. I didn't know what I wanted to ask ("Do you hate women? Do you think they are your toys?"). He didn't know how to answer.
I wish I still had the tape. If memory serves, he was mostly on about the wives part. Like, he was into old school relationships, you know? But I remember discussing, too, his aversion to women who "poison their wombs"; I can feel, still, the anger that trembled in my chest as we spoke, the frustration of not knowing how to put it into words.
I'm relieved we still live in a culture where an artist's association with the alt-right provokes disgust and disavowal, but I am also genuinely confused by the surprise. Death From Above's brand has been hipster men's rights activists (MRAs) from the start.- Julia Tausch, writer
I messed with my essay for months; it kept sucking, my words lumpy knots. I showed it to my dad ("a bit strident, no?"). I tied in Nickelback (their repellent "Figured You Out" came out around the time I interviewed Grainger). I planned to send it to both Toronto weeklies; I planned to blow it sky-high. Some women confronted the band at a show in Montreal. I wasn't alone. But it never quite worked.
Would that I'd had the terms I have now. DFA unabashedly slut shame in "Dead Womb" and, like MRAs, yearn for women willing to play the roles they were supposedly born for: wife, mother, man-pleaser. And for better or worse, had a group like the Proud Boys been so visible then — with "venerate the housewife" among its core tenets — I might have been able to articulate the worldview I was urging Sebastien to resist. Back then, though, it was still a murky haze. Was I just being a bitch?
Whenever my essay circled close to the truth, I backed off. I still wanted to be friends. Plus as DFA's star rose, I got to do cool stuff — I met other Canadian demi-celebs at a festival backstage; I touched a heated toilet seat in the band's trailer!
More than that, though, Sebastien was really nice a lot of the time: warm, funny, enveloping you in his metre-long arms. I worked on kid's theatre with his lovely sister, drank too much champagne at his wedding, am still sorry I barfed on the rented bus that ferried us home. DFA performed at the launch of my first novel. Did I want to smear this man's name? Did I want to equate my own with a feminism of the most strident type?
I did not. I drawered the essay and lost the file, long ago. Slowly, too, I lost Sebastien. His fame increased, he moved to LA. Long before that, though, our friendship was strained; there was too much I hadn't known how to say, that he wouldn't, I'm sure, have wanted to hear. I still followed news of DFA's career, but stopped actually listening to their songs.
I'd argue that the music Jesse and Sebastien make blew up precisely because of their politics. In both form and content, DFA are unabashedly tough — asserting brute masculinity as desirable and cool, primal and natural.- Julia Tausch
That's why I still think about this band, and why Keeler's recent trouble came as no surprise. On October 27th, Keeler refuted Schwitterz' claims and played down his relationship with McInnes in a post on DFA's Facebook page. He explains that he met McInnes when Vice Records released DFA's early work. With regard to being a Proud Boy, Keeler asserts, "This is completely false. I would never join that group." Keeler concedes that he and McInnes "remained friendly, and as our lives diverged, we spokemostly about Dad stuff as we both have kids." Keeler says he's not alt-right — he's just a curious "father of two."
Obviously Keeler intends to humanize himself by doubling down on his dad status, but the move hurtled me back to those early days when I tried to pin down the patriarchal family values cloaked in the squelchy muck of DFA's power. "I never wanted to talk about politics," Keeler goes on to plead. "I just wanted to make music and leave that stuff alone."
I'd argue that the music Jesse and Sebastien make blew up precisely because of their politics. In both form and content, DFA are unabashedly tough — asserting brute masculinity as desirable and cool, primal and natural.
Though none of the songs on their debut album You're a Woman, I'm a Machine are as egregious as "Dead Womb," plenty of lines are easy to read as arguments for male dominance. "Romantic Rights" opens with "Your romantic rights are all that you got / Push them down, son, it's more than just lip," introducing a dude who believes in a woman's conjugal duty. Then comes the Robin Thicke-esque, "Come on girls, I know you know what you want." Reproduction is exalted: "We could do it and start a family." The woman in the song is "living alone unhappily"; the man screams, "I don't need you, I want you." According to "Romantic Rights," men are independent; women are fulfilled only by pleasing said men and bearing their kids.
I remember loving this song at first. The brazen re-inscription of musty gender roles felt villainous, diabolical — like how we love Ursula the Sea Witch, but not. The sexy beats, the prowling insistence of the vocal ceding to plaintive yowls — it's the musical equivalent of Roosh V's Game, which, if it was pure fantasy, might be fun. If the humour that makes it into DFA's videos and social media made it into their songs more often, I might have kept listening. Eva Michon's video for "Virgins" (the third single from 's The Physical World) is funny enough, but does nothing to undercut the lyrics ("Where have all the virgins gone?"), which easily square with DFA's retrograde worldview.
The band still play Dead Womb live, straight-faced. Earlier this year, Grainger described the song as "a manifesto for the rest of our careers" — though he talked like the song was just about avoiding cocaine and said nothing of sluts, wives or wombs. In , on the other hand, he told The Guardian, "It wasn't meant to be a hateful songI just liked saying outrageous things." If the song is the band's manifesto, that's pretty damning. If it's just meant to be outrageous, you'd think they could handle some outrage.
But they can't. In the press for their latest album, Outrage! Is Now, they pivot to a critique of call-out culture. The guys are worried that the mainstream is "in a moral panic. It's the same aswitch burning." They're worried, too, that "no one gets jokes anymore either." Of course call-out culture is complex. But I don't think DFA are interested in creating safer communities within which to further justice. Instead, just as Keeler claims that he wants to stay away from politics, it sounds to me like Outrage! is an attempt to eschew the type of discussion I'm trying to keep going here. Their "outside of the system" stance seems almost to anticipate the Proud Boy allegations, and looks like an attempt to avoid accountability.
But DFA have been small-p proud boys all along. The band's conception of gender is in keeping with McInnes's — tellingly, Keeler doesn't distance himself from the Proud Boys' sexism in his statement, instead mobilizing his Indian heritage to suggest he couldn't possibly be a white nationalist. But whether or not Jesse's a Western chauvinist, DFA has built their brand on male chauvinism from day one. And the industry's eaten it up.
In response to Jesse's statement, fanboys yelped, "We love you, man, we knew you weren't like that." But he's been like that in plain sight for years. Schwitterz retracted the Proud Boy charge, but highlights the "sketchy shit" Keeler espoused on McInnes' podcasts. Fans can evaluate the evidence for themselves. While Schwitterz goes on to call Keeler just a "giant dummy," I'm not inclined to be so generous; I know that misogyny and white nationalism intersect and inform one another. Having been irked by DFA's MRA-like lyrics for so long, Keeler's musings on Muslims in Britain strike me as depressingly on brand.
I am glad to finally have the words to express why I've long been disappointed in Sebastien and Jesse. A dorky-ass part of me hopes that the band will see the fallout of the Proud Boy controversy as a reason to expand their own vocabularies, to grow beyond their panic that their white-passing male entitlement might be under threat. But if they don't, there's plenty of reason — and always has been — to disavow Death From Above.
Some of the items were hanging on the walls. Natasha walked and searched along the left, and I, along the right lane. - Here she is. - Natasha was holding in her hands a faded hat, very similar to a maroon beret.
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It was something unimaginable. It seems to me that I heard Lyudkina's hoarse moans when she moaned, swallowing this guy's sperm. Unfortunately, the guys moved to the bedroom, and I had to go to the hotel, rent a girl there, and relax with her to the fullest.
When I came home the next day, long explanations followed: I borrowed money from a friend, bought another jacket, but don't worry, Ill pay myself.