DEADLETTER have been on my radar for a while since I saw them in Liverpool last year and they struck me as one of the most energetic new bands I’d seen in a while, they didn’t stop for an hour, each saxophone-laden stomper fiercer than the next. And it’s this problem they have to solve, albeit a lovely problem to have, how they translate this energy into a substantial debut record.
They themselves acknowledge this quandary and say of it, “you’ve just got to remember why people turn up to our gigs, why they pay to see us: that energy. So, just play to our strengths…” To help with that, they’ve got top producer Jim Abiss (who’s worked with such big names as Arctic Monkeys and Adele) in, and the difference is sound is palpable compared to earlier tracks such as ‘Fit For Work’ and ‘The Snitching Hour’, which may explain their absence.
Those earlier tunes have acquired them quite the following, 6 Music amongst others have loved and played everything they’ve done so far, and it seems as if the stars are very much aligning for them. So, are they worth your time and attention?
You can tell from the very start that this is a set of songs that will not lack for energy, ‘Credit To Treason’, with guitar stabs leading to a manic shout-along chorus that sneaks up on you and nestles as a earworm, and latest radio friendly single More Heat! grab you by the lapels and shake you senseless.
‘Mother‘ sees them sounding like they are coming from a less frenetic angle but with its deceptively beautiful ‘now just forget it all and dance’ message, it sees them more reflective but no less tuneful. You can hear that they have been nurturing this sound for the last few years in this side one highlight as it is a real heart and soul collaboration of guitars, drums and brass.
There’s an audible sense of relief that the high quality of their first handful of singles is maintained and furthered taken and ran with here, there’s a (hate to use the word) maturity, less scrappy feel (not an insult) to the songs, the production making for clearer vocals alongside more angular, throbbing guitars.
‘A Haunting’ sounds like its title would suggest, telling tales of ‘murder and destruction’ which sounds terrifying but has a sweet sounding coating if tales such as this could be this catchy. ‘The omnipresent flicker of the television set’ sees ‘It Flies’ keep up the post-punk energy, as it descends into a swirling cacophony. It may feel slightly one-paced at times, but when that pace is as judderingly furious and confident as this then there can be no complaint.
In lesser hands, the saxophone has the ability to lead a band down the path of a one trick pony, but it’s used sparingly and in all of the right places on each song, adding to and not imposing. It will of course bring some lazy Black Country, New Road comparisons, especially throwing a cultured vocal and intelligent writing (influenced by Russian Literature no less) into the mix, but they sound like a band with the confidence to ignore those and carry on down this fertile path.
The title track sees things take a breather slow marginally, just makes the vocals even more threatening. Already a live favourite, ‘Deus Ex Machina’ tells the tale of the descent of their home country, over a moody verse/stomping chorus combo.
‘Practice What You Preach’ sees an extended jam feel to its outro giving themselves space to rock/sax out, before the juddering ‘Mere Mortal’ and the meaty, splendidly titled ‘Auntie Christ’ with its crunching, grunge-like drums is the heaviest thing on offer here, it’s chant of “only when he’d fallen, could he truly rise” bringing proceedings to a barnstorming conclusion.
They are not a band that are going to make it difficult for their audience to take them to their hearts, there’s a lot going on, but it’s all wrapped in tunes, a pleasing debut.
