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As much as we all want to assure ourselves of the contrary, we must admit that 2004 was a very long time ago. I know it makes you feel old, and I apologise, but the slow crawl to death is an inevitable part of life, so we might as well embrace it. Thanks for that one, Charlie Kelly. Because, let's face it, a lot of shit has gone down in the time that has passed since Death from Above 1979 released their debut album, You're a Woman, I'm a Machine in 2004 - and right from the introductory gargles of bass-note feedback on opener 'Cheap Talk', The Physical World makes that abundantly clear. It plunges you right back into the mid noughties, even if only for a short while, before you wake up and realise you're actually in 2014 and people you've known since they were small children own homes and drive cars now. Or is that just me? Thanks for that one, DFA.

I showed up late to the DFA party (about eight years late) so I wasn't there to feel the weight of the statement that was You're a Woman, but they were a lightning bolt of exhilaration when I needed one. It was instantly clear to me that most of the dance-punk I spent hours with in 2007, thanks to watching TV shows like Skins had roots in DFA's dynamism and abrasiveness - Klaxons and Crystal Castles' debut albums especially owe something to the Canadian pair. But while they might still be making music and releasing it, the time of Klaxons and Crystal Castles has probably come and gone. Crystal Castles have left their dance-punk roots behind altogether and the less said about Klaxons recent hijinx, the better. And yet, Death from Above seem to have outlasted them on reputation alone. Because of this, and the fact that I turned 20 recently, I've been left with a sense of pining for simpler times, and that's something The Physical World offers up.

That opener, 'Cheap Talk', I mentioned earlier? After the muttering gargles suddenly fade, a colossal drum fill tumbles into a driving series of hi-hat strikers while the signature shots of screeching feedback signal the proper return. Seriously, the hi-hat takes one hell of a walloping over the track's 3 minutes and 15 seconds to generate the kind of persistent power only DFA can construct. In fact, I'll stop myself right here to say that "persistent power" describes a good portion of what The Physical World is all about. It's always there, even on the slightly less claustrophobic 'Trainwreck 1979', which calls on spacious pianos and focuses down on the vocal melody, instead of the usual grinding of gnarly bass hooks. It's a sport montage safe, E4 advert maker's dream, but it's still Death from Above 1979. It still has those chugging basslines and the vocal style of a violent rascal. Their idiosyncrasies always rise to the top eventually.

'White Is Red', the album's keystone, recites drummer/singer Sebastian Grainger's account of a driving into the wilderness at the age of sixteen with a girl - Frankie. Only she speeds away into the night, leaving Sebastian stranded and heartbroken. Striking in its disposition of teenage innocence and its uncharacteristic emotional pull, 'White Is Red' is by far the most accessible track Death from Above have ever written - but hey, a little doe-eyed reflection never hurt anyone. Hold on, though. This is Death from Above 1979, and as I said, they spend most of The Physical World grinding out the unstoppable force that give their debut album its cult status. This isn't DFA gone bubblegum pop.

Despite the ten year gap between the two albums, the organic advancement is comfortably defined. The usual tactics of call and response between the higher and lower registers of Jesse's bass' ranges are still there ('Always On', 'Gemini') and the smooth grooves which create most of the duo's instrumental force remain dominant, but there's a smoother edge thanks to a larger budget. This can be a double edged sword, because the lo-fi angle You're a Woman opted for gave 'Romantic Rights' and 'Little Girl' the endurance that tracks such as 'Nothing Left', fromThe Physical World, may fail to achieve. We are going to have to leave it up to time to decide whether it's as impactful as the pink-covered debut - because the peak of dance-punk has come and gone, unfortunately - but if there's one striking quality about The Physical World which sets it apart from a good portion of band-rock at the moment, is that it is an absolutely necessary blast of formidable energy. We're all getting older, but Death from Above 1979 are intent on making sure we kick it wild before we get there.

In an industry bursting with constant reminders that The Beatles and Bob Dylan are the benchmarks for songwriting expertise - even in this world filled with vast experimentation and forward-thinking - it's nice to hear a rock album that would rather pack itself to the walls with thick, substantial, unequivocal noise than be anything like Arctic Monkeys' current brand of whatever. Bar the wonderful exceptions we're all aware of, rock music has become very bland since Death from Above were last around, and it seems they're just as sick of it as I am. The Physical World is an in-and-out 35 minutes of cacophonous drumming and rapid-fire riffing, but always maintains the self-awareness that's needed to reign itself in on occasion. It possesses a unique freshness, and that's a relief given that returning rock bands have the potential to just sound so incredibly flat. I don't wish to cough in the direction of Bloc Party and Pixies, but there you go.

The consistent buzz around You're a Woman, I'm a Machine has resulted in Death from Above 1979 becoming a band we expect a lot from, but they've fucking delivered here. In short, 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.

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