The Dead Letters alive and kicking
The Dead Letters: The Dead Letters
While it's a challenge for any instrumental group to maintain audience interest, without being able to rely upon hooky melodies one can sing along to, The Dead Letters, in their self-titled EP (released this past August), have seemingly overcome this obstacle effortlessly.
With influences ranging from Ennio Morricone to Duane Eddy, The Dead Letters are obtusely accurate, when they refer to their sound as “a Mediterranean Horse Opera.” Playing within a genre not often heard in popular music, this five-piece ensemble combines guitars and percussion with viola, piano, and guitarrón; a 25-stringed instrument common to mariachi bands.
As their violinist moves between slow, vibrato-rich harmonies and fast-paced measures more indicative of fiddling, The Dead Letters' guitarists flesh out their sound with Spanish-style riffs, orchestra-worthy counterpoint, and punk energy.
Insinuating an album storyline that only one's minds eye could complete, The Dead Letters' E.P. unfolds like the plot of a “Choose Your Own Adventure” book. The guitars strum out imagery akin to classic “spaghetti westerns,” while maintaining a 21st century attitude: it's John Wayne at high noon staring down Christopher Walken. The instrumentation is as creative as the genre itself.
While calling this record an “EP” is generous (its three tracks come in at just under 20 minutes, in length), it's still a substantial release. Shifting between high-energy arpeggios and languid melodies within the various tracks, The Dead Letters' songs don't rely on conventional verses or choruses, but rather episodes and scenes. It is this variety that holds the listener captive.
The album's arrangements, too, are perfect in their structures and timing. The listener is lulled into each track's sound and allowed to enjoy it just long enough, before being caught off guard by a switch to something new, that while is completely different, still manages to keep with the overarching mood.
This self-produced album shows a skill and artistry that is bound to be noticed. While The Dead Letters' current tour will bring them no closer to London than St. Catherines, I think it would be worth keeping an eye on their website, (www.thedeadletters.ca) for the chance to see them perform live in the future.
While it's a challenge for any instrumental group to maintain audience interest, without being able to rely upon hooky melodies one can sing along to, The Dead Letters, in their self-titled EP (released this past August), have seemingly overcome this obstacle effortlessly.
With influences ranging from Ennio Morricone to Duane Eddy, The Dead Letters are obtusely accurate, when they refer to their sound as “a Mediterranean Horse Opera.” Playing within a genre not often heard in popular music, this five-piece ensemble combines guitars and percussion with viola, piano, and guitarrón; a 25-stringed instrument common to mariachi bands.
As their violinist moves between slow, vibrato-rich harmonies and fast-paced measures more indicative of fiddling, The Dead Letters' guitarists flesh out their sound with Spanish-style riffs, orchestra-worthy counterpoint, and punk energy.
Insinuating an album storyline that only one's minds eye could complete, The Dead Letters' E.P. unfolds like the plot of a “Choose Your Own Adventure” book. The guitars strum out imagery akin to classic “spaghetti westerns,” while maintaining a 21st century attitude: it's John Wayne at high noon staring down Christopher Walken. The instrumentation is as creative as the genre itself.
While calling this record an “EP” is generous (its three tracks come in at just under 20 minutes, in length), it's still a substantial release. Shifting between high-energy arpeggios and languid melodies within the various tracks, The Dead Letters' songs don't rely on conventional verses or choruses, but rather episodes and scenes. It is this variety that holds the listener captive.
The album's arrangements, too, are perfect in their structures and timing. The listener is lulled into each track's sound and allowed to enjoy it just long enough, before being caught off guard by a switch to something new, that while is completely different, still manages to keep with the overarching mood.
This self-produced album shows a skill and artistry that is bound to be noticed. While The Dead Letters' current tour will bring them no closer to London than St. Catherines, I think it would be worth keeping an eye on their website, (www.thedeadletters.ca) for the chance to see them perform live in the future.
