Deadletter have you ever the place they need you earlier than you even begin listening to their debut album ‘Hysterical Energy’. The title alone units the temper: the post-punk band are in thrall to life’s contradictions, busking on the crossroads the place magnificence meets brutality, fearsomely robust whereas additionally embracing the hysteria.
The Yorkshire-bred group at the moment are primarily based – the place else – in South London, they usually’ve pitched themselves with this document someplace between the readability of style forefathers Journal and Gang of 4 and the maximal overflow of contemporaries Black Midi and Squid. Broody, crunching guitars may be their staple weight loss program, however Deadletter perceive the worth of letting the sunshine in too.
We hear it on ‘Relieved’, which tingles with the jaunty dartiness of early Franz Ferdinand, Alfie Husband’s skipping drumbeats powering the group. Frontman Zac Lawrence has a wry Northern wit, singing in regards to the British social paralysis of bearing the corporate of somebody you’re too well mannered to stroll away from: “I’m far too vertebrate to face you with my backbone,” he sings.
‘Extra Warmth!’ is one other barnburner, a observe about accepting the necessity for change that wails beneath its personal taut, claustrophobic stress. Lawrence dizzily cries out for “extra warmth”, certainly figuring out that any extra and the entire thing will combust into an excellent bonfire.
It has been an enormous few years for this sort of studious art-punk, however in a scene that may be too po-faced, Lawrence’s vibrant writing brings some welcome sparks of humour – even when the subject material stays darkish. Take ‘Deus Ex Machina’, which the band wrote amid the wreckage of the Liz Truss disaster. “Hilarious as stand-up, extra like a sit-down or a law-low,” he sings. “This isn’t comedy, it’s presents, futures.”
Amongst all of it is Deadletter’s deadliest weapon: the saxophone of Poppy Richler. At instances she appears to be locked in a duel with Sam Jones and Will King’s guitars; in others, the three mix in some terrifying axis of energy. Richler’s elements ignite and catalyse ‘It Flies’ and ‘Hysterical Energy’, which owe a sonic debt to The Comet Is Coming, whereas on ‘Mom’, the sax provides a way of thriller, verging on menace – not removed from the paranoid temper of Bowie’s ‘Blackstar’.
And there it’s once more, the tangle of juxtapositions that makes Deadletter such an intriguing new addition to the Brixton Windmill period of post-punk. ‘Hysterical Energy’ is darkish and foreboding and it’s irresistible and enjoyable. It confronts the day by day wrestle of our shared society and forces us to smile about it. Deadletter may solely be getting began, however with a document as achieved as ‘Hysterical Energy’, it already seems like they’ve been right here for fairly some time.
Particulars
- Launch date: September 13, 2024
- Report label: SO Recordings
