Deadletter – ‘Hysterical Strength’ album review: an indirect argument in favour of instrumentals
THE SKINNY: On their new album Hysterical Strength, Deadletter reached new indie heights by being one of the most talented bands ever to make a record that is so very difficult to get through. We’re subject to excellent musicians and a poetic mind throughout, but what we end up getting is a repetitive album, and it is a relief to hear the end of it.
There is no suggestion that this is the same song 10 times over. Because it’s not. But it’s also not far off. The tone of most tracks remain consistently chaotic, and even those that feel more melancholic, stripped back and questioning, only do so for 45 seconds before we’re back into the band’s signature blend of funk, mess, jazz, free jazz, and spoken word. It sounds great for a few songs, but after a whole album, it feels drawn out, boring, and oddly hollow.
One of the most frustrating aspects of Hysterical Strength is the vocals. The instrumentation on this album is exciting, but it’s often overshadowed by long-winded sentences that don’t mean anything. The same vocal tone, tempo, and lack of substance are present throughout every song, to the point that the singing begins to resemble nails on a chalkboard before the album is done. It is a juvenile treatment of great talent.
There is no denying that Deadletter are a gifted bunch, but this album falls into such a repetitive pattern that it becomes hard to look past its flaws. Here’s hoping they keep making music and continue experimenting with new things; there is certainly potential – from the duelling guitar work to the effusive energy, much of the record is creditable – but with Hysterical Strength, they have latched on to the same idea so tightly, so unrelenting in their grip, that it feels played-out, dull and overblown before the end of song five.
For fans of: Atmospheric jazz and bad poetry.
A concluding comment from a fellow poet: “I saw a dying star in the big Tesco car park, stood next to a woman I loved that turned out to be a shadow, wandering, lost, lost and wandering when this album played, vibrations down the petite holes I call eardrums, shockwaves through brain and body, god and earth and animals and plants merge, cataclysmic, radiant, a blend of sonic perfection that would be lost on those most foul but finds itself in me, a true testament to the airwaves, a kiss of death to the prospect of silence. I have always been in love with you.”
Hysterical Strength track by track
Release: September 13th | Label: SO Recordings | Producer: Jim Abbiss
‘Credit to Treason’: Starts as a brooding number. Low running bass, high energy, and lots of breathing room between vocals. It’s a good song and certainly a statement of intent, but at times, it feels like it doesn’t reach the heights the band aimed for. It’s almost as though it’s constantly building to something but doesn’t end up adding the finishing touches. [2.5/5]
‘More Heat!’: A trippy beat hangs in the background of this song, a high-pitched ringing pierces, and the odd hits of guitar and saxophone provide a drunken, funky sound to proceedings. The instrumentation is exciting yet drowned out slightly by vocals, which feel a bit too loud; it becomes difficult to pinpoint exactly what you are listening to as a husky voice overrides everything. It doesn’t sound bad, far from it, but it feels like we’ve been robbed of what makes the band unique. [3/5]
‘Mother’: One of the standouts on the album. There are so many elements to Deadletter, be it the chaos, the genuinely excellent instrumentation or the emotive vocals, that there are a lot of instances where some are relied on too much, or not enough, and songs fall flat as a result. ‘Mother’ is an example of all these elements coming together beautifully, as the track is easy to get swept away in and become obsessed with. [4.5/5]
‘Bygones’: A funky song that rings slightly familiar. It follows a similar sound and tempo to what has come before and doesn’t do enough to separate itself from the songs prior. It’s a fine listen, but there isn’t much with ‘Bygones’ that gives any replay value. [2.5/5]
‘A Haunting’: Five songs in, and unfortunately, the album begins to sound slightly repetitive. We’re met with a similar tempo, a bit of funk and a very samey vocal melody. We aren’t given a lot of versatility with this song, and it’s hard to find any meaning to latch onto as, on a casual listen, it comes across as word vomit, devoid of substance and just there for the sake of it. [1.5/5]
‘It Flies’: A slightly more stripped-back feel ushers in the introduction to this song, which provides another upbeat backing for drawn-out sentences and the exact same vocal tone we’ve been subject to for 20 minutes now. The breakdown / chorus is exciting; we are no doubt dealing with great musicians, but the range in the album continues to be one note. [2/5]
‘Hysterical Strength’: The titular track gives the listener something more atmospheric. The saxophone and guitar run alongside one another beautifully, as eyes close and we’re swallowed up in a sound equal parts tranquil and haunting. The same sax run plays throughout the song, which sounds lovelier and lovelier. I can’t help but feel like this song offers something different, but with such a repeated attitude towards vocals, in how they sound, their rhythm and the way that lines are put together, we miss the opportunity for a break in our regular scheduled programming. There are a lot of moments on this album where we don’t need lyrics, and annoying segments in this song act as a great example of that. The repeated “Duck duck goose, duck duck goose” section is a particular low point. [2/5]
‘Relieved’: Another stand-out on the album. While we have a similar approach to songwriting, the instrumentation that makes up this track feels more refreshing. The persistent bass line is a real standout, and the chorus is one of the most catchy parts of the album. We hear a bit of a different vocal tone and get shadows of harmony, too. [3.5/5]
‘Deus Ex Machina’: Another excellent example of how good the instrumentation is in this band. We are transported to a dystopian landscape with the drawn-out brass and strings that overpower this introduction. The song’s feel is much more brooding to start with, coming across more contemplative than confrontational. Alas, it reverts to type. [3/5]
‘Practise Whilst You Preach’: Pretty bass chords and saxophone run to welcome us into this track as we near the end of the album. The opening line of “2:30am screaming bloody murder” rides that instrumentation perfectly; it’s one of the most exciting openings on the album. As the song builds and lyrics come at us thick and fast, the song falls into the same trap almost every song on this album does. [2/5]
‘Mere Mortal’: One of the more upbeat songs on this record. It sounds like slight ska influences could be at play, and the ghostly choir on the chorus is an eerie addition. A fun listen all around. [3/5]
‘Auntie Christ’: Once you’ve had a minute to recover from that incredibly clever title, the closing song on Hysterical Strength is one of the most versatile and distinctive on the album. It feels intoxicated; the strumming pattern is listened to through haze-filled ears and a narrative-driven trip of a number plays out. It’s a good listen but deeply, deeply frustrating. Where has this been? The album is repetitive, following the same pattern but slightly contorted here and there. In contrast, on the closer, we see Deadletter are capable of more but decided not to exercise those creative muscles. [4/5]
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