The Physical World

The Physical World is a triumphant statement that the two musicians have moved forward artistically. [Oct 2014, p.97]

The Physical World proves that not only is 2004 just far back enough to merit nostalgia, but that this return opens our first portal back.

From opener ‘Cheap Talk’ onwards, this is never anything but the purest DFA1979, served flaming hot. Which was just fine back when--but it’s definitely a disappointment to not hear the band even hinting at an expansion of their stripped-raw sound, just deep-groove bass and heavily hit drums.

Although the album loses some steam in its second side, it is light-years away from disappointing. Instead, it is proof that this band has aged well.

If the lyrical substance isn’t quite there, at least the riffs are.

One blast of The Physical World and BANG, the doubt is gone.

When they do get it right, as they frequently do on The Physical World, it does provide you with more than a simple nostalgia fix.

The Physical world is a perfect storm of groovy punk. [13 Sep 2014, p.54]

This is an exciting second act, tempered by the occasionally predictable moment. [Oct 2014, p.87]

The Physical World is a tremendous, rollicking, riotous blast of an album.

They have returned hungry and wired to shake us out of our digital comas.

A lot has happened in 10 years, but DFA’s approach to making ferocious music certainly hasn’t.

Sebastien Grainger’s vocals show the benefit of spending the last few years touring with quieter bands, and listen closely for the subtle analog synth touches Jesse Keeler’s added behind his trademark wall-of-fuzz-bass sound.

With The Physical World, Grainger and Keeler haven’t entirely scratched the itch they instigated a decade ago. But they’ve learned to live with the burn, and that’s the next best thing.

As it stands, it’s still one of the year’s finest and worth the wait.

This album succeeds in ways You’re A Woman never could have, and for that, it requires commendation.

On too much of The Physical World they sound like a pale imitation of themselves. [Oct 2014, p.108]

Though not as earth-shattering as their live shows, it’s a short, sharp shock nonetheless.

Returning a decade later, they're still crushing violent, angular riffs (see the hellacious "Government Trash"), but they're also writing catchier songs that bring out conventional rock influences.

At times The Physical World feels like the real deal, at others a pale imitation of a too-distinct aesthetic.

The Physical World confirms everything we'd hoped for: DFA still know how to produce unstoppable energy, they still know how to push a bass guitar to its full capacity and they still know how to inject tonnes of fun into not just their product, but the wider spectrum of music itself--and there's not much more you can ask for, especially after so long.

With The Physical World, Death From Above 1979 both embraces its dance-punk roots and transcends them.

Like its predecessor, The Physical World is crammed with loud, fast, short songs.

This is a wonderfully assured comeback record, but it’s also precisely more of the same.

While by no means a bad album, this fails to stand out in the way its predecessor did.

Taken on their individual merits there's nothing particularly 'wrong' with the 11 songs that form DFA 1979's long-awaited second album, but altogether there's few standout moments and the tight, self-imposed confines of DFA 1979's sound shackles them to the floor.

It's a strong return, though bad luck for the copycatting Royal Blood and DZ Deathrays who'd been counting on their obsolescence. [Nov 2014, p.72]