But The Physical World isn't a mere re-tread. Many of these songs are far leaner than the drum and bass attack Keeler and Grainger offered on You're a Woman, I'm a Machine, and where producer D. Sardy does add sonic flourishes, like the title track's chip-tune intro, those sounds add texture rather than distracting from the group's pummelling modus operandi. There's a stronger sense of melody in Grainger's vocals, and the group aren't afraid to make some stylistic diversions, most notably on half-time rockers "White is Red" and "Trainwreck 1979." The former is one of the album's strongest tracks; the latter, a bid for radio play.
But these tracks highlight lesser lights like "Nothing Left" and "Gemini" that find the duo on auto-pilot. Still, that we even have a new Death From Above 1979 record to talk about is a godsend for fans; that it comes even close to living up to a decade's worth of expectations is a minor miracle.
Read our story on Death From Above 1979's new album here. (Last Gang)