Death From Above 1979 have teased the idea of a reunion before. Three summers ago, the band delivered a sweltering set on the Williamsburg Waterfront, their first show in years. Temperatures soared, but the crowd’s reaction was slightly tepid. “Your parents are getting back together, and that’s all you’ve got?” they bullied. Blame the heat or the lack of new material, but when a mosh pit finally did erupt, the show’s vibes remained more familiar than riotous.
Maybe they weren’t ready then, but Death From Above 1979 are more than ready now. Armed with a solid new record, they’ve had ample time to plot the perfect comeback. Which isn’t to say that The Physical World is a flawless follow-up; crisper, sharper, and all-around more momentous, it’s missing some of the initial spark that made 2004’s You’re A Woman, I’m A Machine so thrilling, so unlike the dime-a-dozen disco drum bands of the era. Where the record succeeds totally, and its predecessor fell slightly short, is in potential. Barring any sudden splits—the duo broke up in 2006, just as blog buzz had reached its peak—Death From Above 1979 seem better poised for stardom this time around.
Mainstream rock glory may not be the band’s intention. Still, The Physical World just might take them there. Recently, Sebastian Grainger told NME, “We’re putting out a Death From Above record and if the press is like, ’It’s not what we expected,’ or however they react to it, it’s like, ’Well, you’ve been fucking asking for it’.” Perhaps as a result of this mounting pressure, the scale feels much larger on The Physical World. Bursting with the same noise-infested dance-punk energy as their debut, it’s a monstrous collection with earworm choruses, gigantic hooks and powerful melodies.
The Physical World is the result of a band knowing exactly how to play to its strengths. There are scuzzy, pseudo-metal riffs that scratch and burn into oblivion; totally unforgiving, unyieldingly furious beats; and lyrics that speak mostly to sex, and not much else. “Virgins” is a power-pop ode to chastity, with Grainger lamenting, “There’s nothing sacred to me/I lost it in the backseat.” Catchy as hell, the ferocious “Trainwreck 1979” feels primed for a 30-second TV advert. From top to bottom, headbangers abound, never letting up for more than a few seconds. This bold approach might not appeal to the dedicated fans of 10 years ago, but it’s hard to deny some of the record’s more enticing moments, like the sleek, dancey conclusion of “Right On, Frankenstein!” or the primal, glittery zeal of head-shaking opener “Cheap Talk”.
Reunion records are typically a tough sell. There’s undeniable magic in the concept of a band releasing one great record and bowing out for good. Now, upon their return, Death From Above 1979 are going for glory. The Physical World is an album of reaching and striving—“I want it all/I can’t get enough” they claim on “Trainwreck 1979”—but as far as reunions go, they’re pretty close to the top.
