A decade later, Death From Above 1979 turn it out at Metropolis

I never thought I’d get to experience a bona fide reunion tour while I was still in my ‘20s. But if it was going to happen for anyone, it would be for Death From Above 1979.

The duo never seemed comfortable, let alone excited, by the fame that followed their 2004 now-classic You’re a Woman, I’m a Machine. According the liner notes I pored over as a teen, that one also took them a decade to make. And when the record was finally ready to come out, the two weren't really interested in still being a band. Sebastien Grainger and Jesse Keeler might be more suited for creative spurts than a lasting career together.

Maybe they'd rather be doing something else, but after a decade of sporadic touring and only two records they have something many artists would kill for — a guaranteed draw.

Metropolis is packed with a cross-section of indie kids and leather jackets, and the remnants of what would have been called emo when these guys last broke up. Ten years later the band is still thrashy and angsty, and their fans haven’t aged much.

From the first maniacal pick scrapes of “Romantic Rights” (recorded when Napster was still a thing) to this much-hyped tour, they’re still making people stop and say ‘wait — a bass can do that?’

The main difference is back then they were an unknown two-piece, something fresh when “collectives” were the hip thing in Canada. Now, they’re Canadian indie rock superstars. That image of Grainger and Keeler with their elephant trunks was burned into our retinas long before they took the stage Thursday night, the logo illuminated between them.

Their mystique only built in the years of their hiatus. In 2011 they tested the waters with some festival dates, and now they're back in full album-support mode, touring North America and Europe for four months.

Grainger in white, Keeler in black, they jump onstage after their army of roadies have cleared the area. Keeler’s synthesizer sports a sticker reading in large black lettering: “Don’t steal. The government hates competition.”

The crowd goes nuts a second into You’re A Woman, I’m a Machine opener “Turn it Out”, and the moshy madness continues as they move into The Physical World’s opener “Cheap Talk”. They continue to ping-pong between the two records throughout their set. Things just get sweatier, and spill-ier, as they power through while the low end rattles our teeth.

Everyone is just as excited about the new stuff as the “classics” and that really shouldn’t be surprising, considering how similar the two records are. The Physical World can’t really be called a “mature” record, even if Sebastien’s indie pop solo tendencies have seeped into tracks like “Trainwreck 1979”. The work ethic seems to be the same as it has always been — fight for a decade and eventually put out a record both heavy and dancey enough to demand our attention.

Even if Grainger can’t hope to hit the high notes in “Trainwreck 1979” live, the surrounding energy and fandom forgives him in an instant.

I don’t think “growth” is the right word for what these guys have gone through. Grainger jokes about a MSTRKRFT song, playfully asking Keeler why he couldn’t be in that band. He tells us we better cheer loud, or they’re not coming back again.

Whatever their relationship is, it’s pretty clear that mutual love is not what’s bringing them together. But that doesn’t really matter; they’ve achieved icon status. Those elephant noses will follow them for the rest of their lives, whether they keep playing together or not.

Another new Death From Above 1979 track - "Government Trash"

They already posted "Trainwreck 1979" last month after premiering the track on the BBC, and now you can sink your teeth into a second track off The Physical World. Free CDs were given out at a DFA 1979 show at The Troubadour club last week in West Hollywood with the album version of "Government Trash," the ninth track on the new LP according to the previously announced tracklist. "Government Trash" is ruled by frantic bass runs and drums that verge on thrash metal. It's ready-made for mosh pits.

Anyone taking bets on a POP Montreal appearance?

The Physical World is out September 9 on Last Gang Records. Full tracklist below.

1. Cheap Talk 2. Right On, Frankenstein! 3. Virgins 4. Always On 5. Crystal Ball 6. White Is Red 7. Trainwreck 1979 8. Nothin’ Left 9. Government Trash 10. Gemini 11. The Physical World

New Death From Above 1979 song premieres on BBC Radio 1

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The coveted first listen of Death From Above1979's long-time-coming follow-up to You're a Woman, I'm a Machine premiered today on Zane Lowe's BBC Radio 1 show (listen to the show at the 1:53-ish mark on BBC Radio 1's site).  "Trainwreck 1979" definitely holds traces of the solo material Sebastien Grainger's been working on since the last DFA 1979 record, which is really no surprise. After all, it's been a decade since they've put out any new music together.

The Physical World comes out September 9 on Last Gang Records (tracklist below).

1. Cheap Talk 2. Right On, Frankenstein! 3. Virgins 4. Always On 5. Crystal Ball 6. White Is Red 7. Trainwreck 1979 8. Nothin' Left 9. Government Trash 10. Gemini 11. The Physical World

Nightmare on Rave Street

“It's like a nightmare on rave street, like if John Carpenter had a band.” - Sebastien Grainger

The drummer from disbanded dance-punk explosion Death From Above 1979 is back behind the kit with elctro-dance duo Bad Tits.

“It seems really new to me,” explained Grainger. “I'm playing half drum kit half sampler, everything's heavily effected, very experimental, very improvisational. We don't have any written lyrics, we just sort of improvise.”

Compared to members' past projects, this is a totally new approach. “We get down to the basic requirements of music, and it ends up being far more performance oriented. It's a lot more free, it's also weird, a lot more weird than the other things I've done.”

“We use [a projector onstage] as much as we can... it's pretty important,” he continued. “I mean our concept for this band is for it to be like if you were stoned and walked into a bar and something weird was happening.”

The band's debut EP, Garbage Nights, was released this year and recorded in Toronto during last year's garbage strike. With barely anything written beforehand the group spent an afternoon creating improvised psychedelic noise-rock.

“It's a totally different [approach to recording], it's part of our modus operandi with this band - don't commit to anything early on, enjoy the moment of creativity and not revise it too much... With this band we have a kind of aesthetic template we use and a feeling,” said Grainger. “[We're] trying to make something different.”

“After [releasing Garbage Nights] there was a reason to start playing live.” Although immediate results were not so satisfying. “We got together and tried to play these songs that we only ever played in an afternoon in the studio, and found that not only did it not sound good but it didn't translate.”

But maybe that was for the best, because this lack of translation forced Bad Tits to rework and write more material that Grainger calls “a lot more dance oriented.”

For the next recording session the band will approach the album in a similar way. “We're not going to be precious about it, that's an attitude I reserve for my solo material and Josh [Reichmann ] uses for solo material... but with this one we're probably going to record the next release in our practice space,” said Grainger about their post-tour plans. “We're probably going to take the attitude we have from the live show and bring it to the studio.”

“We have a really good feeling about this project just because of the reception we've had at the shows... but that's sort of not good enough at this point. I want to really find out how this translates in a show perspective... if it works out we're ready to put more energy into it.” Grainger said. “I'm not interested in pushing myself onto people unnecessarily. If it works it works, if doesn't, what are you going to do?”