Review: Death From Above 1979 - The Physical World
By Eli Schoop, Contributor
[Last Gang; 2014]
Rating: 5.5/10
Key Tracks: “Government Trash,” “Right On, Frankenstein!”
The cover of The Physical World, Death From Above 1979’s latest album, is the band's logo from its breakthrough debut, You're A Woman, I'm A Machine, contrasted with a serene backdrop. It's definitely fitting, considering the difference in material from the two records. Sebastien Granger and Jesse Keeler's full-length debut was like nothing the music world had experienced--a gnashing, invigoratingly aggressive romp with only electric bass, synths and drums.
Almost reaching its ten-year anniversary, the landmark LP lingers in the minds of all those who listen to The Physical World, for better or for worse. Surely an intriguing follow-up, the duo's signature sound is back in full force but fails to recapture what made them so thrilling during its heyday.
The Physical World's strength as a record is how tightly wound and packed the riffs and grooves are on each song. No matter the general quality of what Death From Above 1979 is playing, you can bet the bass sounds dirty and disheveled, coupled with the drums practically breaking on each hit; restraint isn't shown here.
“Government Trash” is a breakneck ride through and through, perfectly encapsulating the desired vibe. There's nary a moment wasted in dead space; if you're looking for a pump-up jam, you’ve come to the right song.
However, that exact usage is the only real positive attribute The Physical World has at its disposal. Contrary to You're A Woman, I'm A Machine, on which Granger and Keeler seem like they've consumed multiple Red Bulls and could kill a ox in the process of making the record, that energy isn't fully present on their latest effort.
This is especially true for “Virgins.” A statically boring Queens of the Stone Age impression and little else, with lines like “Where have all the virgins gone?” Creepiness aside, the lyrics really miss the mark.
On DFA 1979’s previous effort the instrumentals viscerally overshadowed any cleverness and wit on display, most noticeably on tracks like “Romantic Rights” and “Pull Out.” On The Physical World, lines such as “There's nobody I can blame / the story's still the same / I'm never satisfied / it's a problem in my brain” are less depressingly relatable and more agonizingly cringe-worthy. Dragging down the far too frequently similar music, the downgrade in lyrics really hurts the record as a whole.
A hotly anticipated album, The Physical World lacks a true reason for existing. By itself, it's an adequate accomplishment that's worth a few head bangs. But being the successor to a beloved dance-punk album forces the LP into a spot where it can't prove itself. More often than not, The Physical World comes off as a lackluster Death From Above 1979 clone than an actual follow-up, even if Death From Above 1979 clones are better than most bands.
