IN REVIEW: Death From Above 1979 - "The Physical World"

Who could have predicted a decade ago that Death From Above 1979's debut album, the spiky electro-fuzz dance punk platter You're A Woman, I'm A Machine, would go on to become one of the aughts' most highly regarded albums? Probably the same percentage of folks who could have predicted that, until now, it would be their only studio album. After a few tumultuous years and some remix action, DFA79 took a half decade off before a tentative reunion three years ago that has finally gone full-blown with the release of sophomore effort The Physical World.

It's virtually impossible for human beings to go ten years without maturing, and The Physical World can't help but excise some of the young, hungry energy and manic attack of YAWIAM; hooks here are sharper, the overall sound more refined. It's really only problematic if you actually believe Sebastien Grainger and Jesse F. Keeler were put into cryostasis, which (sorry, Terminator fans) they were not. The resulting album is unsurprisingly different sounding and, while it would have been nice of them to replicate their mid-twenties fury, older/wiser/more melodic will have to do.

That's not to say they've donned slippers and stocking hats and taken to sucking on stylish pipes by the fireplace; this is still very much an explosive, fuzzy bass-n-drums attack that is more than willing to sleaze it up. Case in point: Virgins, which bounces along on a slinky, horny groove. Coming from a couple of guys in their mid-thirties, it's the audio equivalent of Matthew McConaughey smirking and leaning against The Emporium in Dazed And Confused. That's intended as a compliment.

There are a handful of absolutely monstrous tunes populating this tracklist; synth-tinged opener Cheap Talk is as close to Romantic Rights as we're bound to get, while lead single Trainwreck 1979 is a somewhat different look for the band, going through a few phases as its full vision unfurls, but it's glorious and huge sounding. Then, there's Government Trash, a brash and brisk number that brings the thunder. And you've got to admire the title track, which sends the album out swinging.

Critics of DFA79's return are right in that the sense of urgency is missing from much of the music on The Physical World; I admit that Crystal Ball and Nothing Left feel a little underworked compared to the rest of the album. I think, simply put, that's the difference between fighting to be heard and having your fan base salivating in anticipation. They already made it, and they've been tasked with following up an album that, in the eyes of many, can't be topped. So who can blame them for keeping their arms inside the ride?

It's not a toothless album, it just doesn't sound as dangerous as YAWIAM did. If you think that recklessness was the only thing DFA79 had going for them, that's on you; as it stands, The Physical World couldn't and doesn't trump their criminally good debut, but that doesn't make it some kind of heinous, insincere cash grab. This album shows the duo is still capable of delivering thrills, they're just different kinds of thrills now.

September 9, 2014 • Last Gang

Highlights Cheap Talk • Virgins • Trainwreck 1979

Year in Rock 2025

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IN REVIEW: Rancid - "Trouble Maker"

As far as punk rock goes, it's hard to name a hotter hot streak than the trio of records Rancid cranked out between 1995 and 2000; the star making ...And Out Come the Wolves , the far-reaching Life Won't Wait and their balls-to-the-wall second self-titled album solidly positioned Rancid as leaders of the second generation of punk. It also preceded a period of slow progression, as Rancid would take eleven years to release their next three records. By the time ...Honor Is All We Know came in 2014, many fans (myself included) had to wonder whether or not this was the end of the road. Such concerns are handily dealt with on the closing track of the standard edition of their ninth record, the positively punishing This Is Not the End . Well, okay then, that's sorted. Now, what of this new record? What do we make of the use of their original logo on the cover, a logo that hasn't graced a Rancid record in 25 years? Is this a throwback to the band's heyday, a new begin...

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