What’s a sure fire way to get people excited about your new record? Tell them it was made out of a desire to stop hearing from everyone about when you’re going to make a new record, essentially make it to shut them up.
If it were any other band, expectations would understandably plummet. Unfortunately for Toronto’s punk duo Death From Above 1979, it hasn’t quelled the considerable build up of anticipation since their 2004 debut You’re A Woman, I’m a Machine.
Splitting in 2006 to follow solo pursuits, drummer Sebastien Grainger forming Sebastien Grainger & The Mountains and bassist Jesse Keeler MSTRKRFT, the duo found it difficult to escape the success of Death From Above.
They teased us with a short lived reunion in 2011, playing SXSW and Coachella, including some unheard tracks, but still they held out announcing new music. Now, ten years on from the release of that scintillating debut, we finally have a follow up in the form of The Physical World.
And what a follow up it is. It’s unlikely this will shut up critics and fans, it will only leave them wishing they’d had it that much sooner. The ragged, raucous, and raw energy that brought them so much attention from You’re A Woman, I’m a Machine, is once again harnessed in all 11 tracks here.
While the first record fails to sustain the explosion of energy from the beginning, that’s where The Physical World gets the upper hand. It’s just hit after hit after hit. It’s not a huge departure from what we’ve already heard, but it further expands on the sound that is wholly and solely their own.
The advantage of releasing a sophomore record so long after a debut, especially if it’s successful, is that it only serves to remind people how awesome the band was in the first place. High energy, heavy grooves, chaotic disco beats, and synth flourishes are just what the doctor ordered for 2014 and Death From Above have delivered.
Grainger’s searing and soaring vocals are enough to insight a riot. On tracks like ‘Right On, Frankenstein!’ and lead single ‘Trainwreck 1979’, the surprise strengths of this record are revealed. Pop-laden melodies absolutely dominate this album and take on the leading role where the instrumentation once did.
Instead of only having Keeler’s bass lines running around your head, Grainger’s dance punk melodies are there leading the way.
When you couple that new vocal approach with the irresistibly heavy bass riffage from Keeler, all underpinned by thumping dance punk beats, you can’t help but be energised.
Fans of Keeler’s absolutely unforgettable thundering riffs don’t miss out here either. The beauty of Death From Above 1979, especially on this record, is how each member’s musical talents are constantly on display. The distorted line from ‘Gemini’ leaves one is a state of almost disbelief. Yes he’s really getting that sound out of a bass and no, listening quietly is not an option. A particularly body moving moment is the breakdown in ‘Virgins’. A chunky QOTSA-esque drum and bass groove that just sits in the pocket for days and oozes funk.
The balls out blistering energy of ‘Government Trash’ is the biggest stand out on The Physical World. It has everything you love about DFA – the memorable bass riff, fast pace, and plenty of opportunities to generally lose your shit with enthusiasm.
Closing title track ‘The Physical World’, caps off this spectacular return to the scene in brilliant fashion. The bass riff that marks the start of the half time breakdown has an epic finality to it. It’s pure head banging and body shaking bliss.
It’s extremely unlikely that after this record people will let Death From Above 1979 disappear and not continue to serve us with visceral post punk energy. Let’s hope this is not the end.
The Physical World is out September 5th via Warner/ Last Gang.
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