Death From Above 1979 singer Sebastien Grainger sings his heart out.

Despite a 10 year hiatus from the music world after releasing their debut album You’re A Woman, I’m a Machine in 2004, Death From Above 1979 have succeeded in making a long overdue comeback.

A punk rock group from Toronto, Death From Above 1979 is made up of the dynamic duo Sebastien Grainger — lead singer and drummer — and Jesse Keeler, who jumps in as bassist and keyboardist. The two have been rocking and rolling together for over a decade, in spite of their brief breakup in 2006, bringing an aggressively garage rock sound to the music scene.

The Physical World was released on Sept. 9 and takes a more complex approach to the band’s initial rough-and-tumble feel, adding a mix of piano, synthesizer and slower tempo songs. Despite their desire to mix things up and revitalize their sound, Death From Above 1979 are still maintaining their angsty rock star image on this new album with their trademark scratchy bass riffs, high energy drumming and edgy vocals.

The album kicks off on a fairly standard note with “Cheap Talk,” a safe choice for the first track as it doesn’t differ too greatly from the songs of You’re A Woman, I’m A Machine. The title track “Physical World” starts off with a futuristic, electric synth vibe that quickly breaks down into a flurry of gritty bass and punchy vocals.

As the album progresses, standout selections such as “White Is Red” and “Trainwreck 1979” show just how much the group has evolved since they broke out into the music industry.

“White Is Red” starts off as being a relatively slow, almost melodic track — well, as slow as punk rock is capable of being — that vaguely resembles the sound of artists such as The Gaslight Anthem and Ted Nugent. This is the must-listen song for those who aren’t the biggest fans of the auditory assault that makes up the majority of the genre. Its croony lyrics make the listener nostalgic for the good old days of back seat makeout sessions and midnight raids of the family liquor cabinet.

In contrast, “Trainwreck 1979” stays true to the band’s guitar-heavy origins, making for a catchy listen that wouldn’t seem out of place at a house party or an impromptu basement concert. The swelling crescendo of thundering vocals and drums make it a fantastic head-banger.

The Physical World is a more focused and mature outlet for the group’s energy than You’re A Woman, which often felt as though it was walking a thin line between being a product of hormonal rage or true talent. It is a testament to how much Grainger and Keeler have grown as artists as they branch out into fresher and more experimental territory than their debut work.

If You’re a Woman, I’m A Machine lit the first spark in the fire of the band’s success, then The Physical World dumped on the gasoline. The punk rock genre often lacks diversity and albums like this one aim to change that.

The duo have just begun their half-world tour this month as well, during which will travel through Germany, France, Italy, the Netherlands and Belgium before wrapping up in Boston, Mass.

It seems Death From Above 1979’s success has yet to even near its peak and listeners can look forward to many more kickass and energetic albums — which hopefully they won’t have to wait a decade for this time around.

—

Photo: Flickr/Sebastien Barre