Formed in 2020, Deadletter have been gradually building momentum through a series of singles and EPs along with a visceral live show. Having refined their sound and style, this debut album promises to be the culmination of their hard work.

Firstly, a warning: your enjoyment of this album will depend on your tolerance of the saxophone. For many years now, the sax has been underpinning numerous bands’ output, but here it is front and centre of everything, either guiding songs or dominating them, often in lieu of a lead guitar. Although it’s an excellent mood-setter, in truth it does get wearing at points, but fortunately there is much else to digest.

Namely: Zac Lawrence’s lyrics, which somehow shine through the dense, multi-layered songs. Under a modus operandi that “it’s punishing but there’s also a beauty out there”, his story-telling style is equal parts observational and cutting. On recent single ‘More Heat!’, he observes a couple who are deceiving no-one but themselves; “She’s a believer but with perseverance things can change”, he barks, against discordant guitars and rasping sax. 

—

—

“Protect at all costs, consider all the repercussions last”, Lawrence urges against the tumbling percussion on ‘Mother’, ultimately considering that it’s best to “just forget it all and dance”. Elsewhere, on the watertight ‘Bygones’, he observes the fallout from a murder, noting that “The disgraceful existence might just be reduced to condolences sincere”, while on ‘Relieved’ he confesses to being “far too vertebrate to face you with my spine”.

Yet it takes a while to digest or interpret Lawrence’s lyrics above the maelstrom of music. Although the tempo of the album rarely deviates from high-octane or aggressively confrontational, Alfie Husband’s drumming is never less than exceptional, while George Ullyott’s bass shines on tracks like ‘Relieved’ and the prodding, intrusive ‘It Flies’. Also, – for all its ubiquity – Poppy Richler’s saxophone is demonstrably superb, adding atmosphere and tension when required.

At 48 minutes, with little variation in tone or temperament, ‘Hysterical Strength’ can be challenging, but it rewards the listener by saving the best tracks for last. The snappy, 2Tone-flecked ‘Mere Mortal’ sets the scene well for closing track ‘Auntie Christ’ which – as the title suggests – posits on the existence of Lucifer: “Only when he’s fallen could he truly rise / one of the many things he prophesised to us all”. It’s a marauding beast of a track, lurching and stomping on everything before it.

Deadletter aren’t here to provide audiences with light-hearted relief. They are here to make the listener dance while thinking and, on this promising debut, they achieve both with gusto. 

7/10

Words: Richard Bowes

—