DEADLETTER - Existence Is Bliss

‘Existence is Bliss’ is a record that thrives in moments of friction. Cut-and-dry alt-post-punk revival sets the scene, while bursts of sax and synth push against it, and when these distinct sounds clash, everything feels beautifully alive. Take the intro to ‘It Comes Creeping’ or the instrumental in ‘Cheers!’, where bass, sax, guitar, and synth are thrown into a moment of chaotic contention, recalling the sweaty excess of mid-2000s indie sleaze. Then, when Zac Lawrence’s deadpan delivery ultimately cuts through, it is with the gravitas of Ian Curtis, making for a killer combo that briefly demands the volume to be turned up.

Unfortunately, these moments are few and far between. ‘Focal Point’ is the only track that manages to sustain this dissonance all the way through, with saxophones that grind rather than sing and an instrumental clash that moves like machinery under strain.

For an album that gestures at staying afloat during chaos and collapse, it seems oddly content to coast. While 2024’s ‘Hysterical Strength’ thrived on blunt post-punk momentum, ‘Existence is Bliss’ stretches itself into extended build-ups that never deliver. Examples include the echoing ‘Frosted Glass’ or ‘Among Us’, which runs in circles after finding a promising groove. Other tracks, like ‘What the World Missed’ and ‘Meanwhile in a Parallel’, glisten with synth and saxophone, but ultimately feel hollow.

DEADLETTER have clearly found a signature sound, but on ‘Existence is Bliss’, it works against them. However polished the production, the songs lack bite or surprise. The result? An album that impresses at first but quickly exhausts itself, shining brightly before running out of ideas.