Following a meteoric rise that began at the start of this decade, UK post-punk band DEADLETTER has finally unleashed their long-awaited debut album, Hysterical Strength, out via SO Recordings. Consisting of members Alfie Husband (drums), George Ullyott (bass), Poppy Richler (saxophone), Sam Jones (guitar), Will King (guitar), and Zac Lawrence (vocals), DEADLETTER made a habit out of dropping fiery singles one after the other. And with the aid of producer Jim Abbiss, whose work with other UK acts like Arctic Monkeys and Adele assured the album’s quality would be A1, DEADLETTER’s debut album was always primed to be the opposite of dead on arrival.

Acting as a hive mind

While Lawrence unsurprisingly sings with his whole chest out on tracks like “Bygones,” the album’s in-between moments when the other bandmates play off of one another are among some of the album’s highlights. A song that exemplifies their synchronicity is “It Flies,” where the climax sees a showdown between the drums and screaming guitar.

The previously released “More Heat!” serves as the album’s war cry, the final warning before they formally begin their onslaught. But that track works as well as it does because of how interlinked the band members are with one another, together giving it their all on each passing performance. That level of interconnectedness remains one of the constants of Hysterical Strength, starting from the ticking time bomb that is “Credit to Treason” to the impending doom of “Auntie Christ.” The former, in particular, sets the mood by igniting the mood in flames, moving at a rapid speed that never comes to a stop.

Hard-hitting anthems

No matter the song, you can rely on DEADLETTER to stir up a riot from merely one listen to any of their tracks. The scattered drumbeat on “It Flies” acts almost like a runway for the song to soar, where each instrument that follows builds upon its strong foundation. On the outro, the saxophone takes center stage and adds to the hectic energy as Lawrence repeats “Rolling on” and “Going” until he runs out of breath.

In a similar fashion, “Relieved” is a violent form of telling someone to mind their own business, a sentiment that sneaks up and stabs you in the back while the instruments distract you for their flashiness. Even if the song’s meaning is not immediately apparent, Lawrence’s words manage to get in your head like a megaphone in a crowded protest. But for those who simply want to let their rage out, DEADLETTER can certainly help in that regard.

Beauty behind the chaos

There’s no denying that DEADLETTER knows how to tear it up, but that doesn’t mean they don’t know how to stop and smell the roses in their own way. The title track is one of the album’s most mellow, with all the band members while never halting the overall pace, matching Lawrence’s sermon-style singing. It also is an appropriate bridge from the riot ragers in the album’s first half to the slower yet appropriately harsher songs in the second half. Among those in the latter category is “Auntie Christ.” The bass and guitar, despite the fullness of their sound, are more akin to something you would play as a first warning rather than “More Heat!” which is the album’s equivalent to a final warning.

“Bygones” works around its brooding bassline, with Richler’s saxophone giving the strut-inducing track even more of a free-flowing jazz feel. At their most calm, relative to most of their catalog, DEADLETTER is underlined by a distinct sense of dread and intensity akin to the heat of a wildfire. And while, yes, there are genuine moments of gentleness and genuine pondering of the world around the band, they operate best when not giving listeners a second to catch their breath amid their relentless tracks rolling in like tanks on a battlefield.

If there’s one aspect about DEADLETTER that’s worth singling out, it’s their consistency. From their first EP, Heat!, to their debut album, it’s hardly a concern for fans and new listeners to worry about whether or not the five-piece’s latest material will continue their upward trajectory. Although they are currently touring the UK and Europe, it’s easy to imagine that those shows will serve as the start of a chain reaction that could lead to rapturous live shows over in the States.

Words: David Sosa

Visit DEADLETTER on their Bandcamp and Instagram to stay updated on new releases and tickets to upcoming tour dates.