Deathline

Interviews

"...The rooms we stayed in had amazing beds and Jennie got upgraded to a suite. She had two bathrooms, two walk in closets and two king size beds. It was a strange gig but the service was first class..."
» The Devil Has the Best Tuna - November 2010

"...I tried it when I was little, I tried it when I was older. It’s served in tins, and when you open it, the smell is horrible... terrible..."
» Gutfire Magazine - January 2011

Reviews - SixtyNine album

"SixtyNine rams rock’n’roll into electronica in the same delightfully confrontational way that Suicide have been doing for decades, delivering alternate bursts of grotesque beauty and sonic mayhem that insinuate their way into the consciousness."
» Dick Porter, Mudkiss Fanzine

"You should definitely check out Deathline's brilliant debut album SixtyNine. Let's try and describe the Deathline sound... Imagine a generic gothic castle, on a jagged hill. It's the kind of castle you see in old Dracula movies. Lightning is flashing in the night sky, it's raining. The Raveonettes and The Jesus and Mary Chain are touring together. They're on their way to a gig at Transylvannia's foremost nightclub, but their van breaks down. Somewhat apprehensively, they wind their way up the castle drive and knock on the door. It's opened by a malprogrammed robot with the brain of Suicide's Alan Vega wired into it. He kidnaps them and locks them in a dungeon full of musical equipment, knackered fuzz boxes and crates of champagne. Part of the wall slides away, revealing sound proof glass and The Vegatron at the controls of a mixing desk. "Drink all of the champagne and record me an album or I will kill you" he buzzes, in a Stephen Hawkings kind of voice. SixtyNine sounds like that album."
» Dave Taylor, Artrocker

"The combination of Jennie's singing style, which they say sounds a bit like "a punk rock Nico", and I can add that there's also a bit of Nicola Kuperus from Adult. in there too, the catchy garage-rock riffs and the various electronic elements (drums, background noises, squelchy bits) at once gives their sound the retro aspect while remaining firmly in 2009. A winning combo that leaves you feeling dirty, liberated and wholly satisfied. Sixtynine is an uncompromising debut, choc-full of melody, energy and promise."
» The Letter

"Deathline are a very contemporary rock band. Their unceremonious mash-up of guitars and technology sounds like the grinding in the gearbox of the modern world."
» Nemesis to Go (+ live review)

Other

"Deathline are a female lead duo with a fine line in post artrock rumble that purrs like a new born kitten and shreds your skin like a tiger on speed. Kinda like a 21st century Sonny & Cher having lunch with The Raveonettes served by The Yeah Yeah Yeahs' at Joy Division's greasy spoon cafe."
» The Devil Has The Best Tuna

"Seriously unworldly electronica new wave, this is glamour at its darkest."
» On and Offstage

"It was a sad day when London lost original 100mph piked artrockers The Electric Shocks but at least we got two cool new bands out of the split. Kaoru and Jennie pulled together their guitar and bass duties and drafted in a ferocious drum machine to complete the rock'n'roll economy of a power duo. Kaoru's distinctive fuzz-tone guitars now complemented by Jennie's dead-pan noir vocal deliver a garage-punk pop with shades of Jesus and MaryChain, Ravonettes and Yeah Yeah Yeahs. Abrasive energy and tunes, a winning combination."
» Artrocker - Paul Cox

"Noir Rock with grinding drums that spit out short sharp burst of venom and a broody as hell bass give this duo a minimal Jesus and Marychain like vibe. The sultry and cool as you like vocals from front woman Jennie come across like a punk-rock Nico. An amazing combination."
» Lee Puddefoot (Artrocker mag / Spoon of Music)

"Female fronted two piece... Yeah Yeah Yeahs territory but darker... Blondie's in there too... simple riffing tunes but with a lot of A1 attitude... some Sonic Youth buzzing artschlock about proceedings too."
» London Particular

"Imagine Leonard Cohen singing a Billy Corgan ballad while J Mascis turns up the distortion."
» Dan Scratch, Camden New Journal