The Dead Letters

The Dead Letters
self-titled E.P
(independent)
Ethno-roots
Rating: 4 out of 5
Think you've heard it all? Think again. The Dead Letters -- two ex-National Monuments on acoustic guitar, plus a violist -- have a sound all their own. Well, mostly their own -- their cinematic instrumentals combine the sweeping beauty of composer Ennio Morricone's dusty soundtracks with the fluttery arpeggios and romantic melancholy of European gypsy-folk, with dark dashes of post-rock's hypnotic precision for good measure. Sort of East Meets West Meets The Future in The Past, if that makes sense. Listen to this three-cut EP and it will. http://www.sonicbids.com/img/spacer.gif - Winnipeg Sun Media

The Dead Letters
self-titled E.P
(independent)
Ethno-roots
Rating: 4 out of 5
Think you've heard it all? Think again. The Dead Letters -- two ex-National Monuments on acoustic guitar, plus a violist -- have a sound all their own. Well, mostly their own -- their cinematic instrumentals combine the sweeping beauty of composer Ennio Morricone's dusty soundtracks with the fluttery arpeggios and romantic melancholy of European gypsy-folk, with dark dashes of post-rock's hypnotic precision for good measure. Sort of East Meets West Meets The Future in The Past, if that makes sense. Listen to this three-cut EP and it will. http://www.sonicbids.com/img/spacer.gif - Winnipeg Sun Media

4 out of 5

I wish that for more (young) people out there the penny would drop and they would realize that “good” music doesn’t have to be legitimized by Top 40 radio and MuchMoreMusic. God knows you’ll never hear The Dead Letters on 94.3. But whether you did or not wouldn’t make the slightest difference to the originality, power and musical acumen of this instrumental quintet. What are they like, you ask? Let me answer that two ways. For those music fans who have long lost their fear of the offbeat and the quirky, it’s a brooding, driving, even haunting mix of spaghetti-western anthem and the Tennessee Two played at 45 rpm. For those who have yet to get over the same fears, giving this disc a listen – and just taking it on its own terms – may just help you get over those fears.

link: http://uniter.ca/view/2657/ - The Uniter - University of Winnipeg

4 out of 5

I wish that for more (young) people out there the penny would drop and they would realize that “good” music doesn’t have to be legitimized by Top 40 radio and MuchMoreMusic. God knows you’ll never hear The Dead Letters on 94.3. But whether you did or not wouldn’t make the slightest difference to the originality, power and musical acumen of this instrumental quintet. What are they like, you ask? Let me answer that two ways. For those music fans who have long lost their fear of the offbeat and the quirky, it’s a brooding, driving, even haunting mix of spaghetti-western anthem and the Tennessee Two played at 45 rpm. For those who have yet to get over the same fears, giving this disc a listen – and just taking it on its own terms – may just help you get over those fears.

link: http://uniter.ca/view/2657/ - The Uniter - University of Winnipeg

Billed as a Balkan-Influenced spaghetti-western soundtrack to the revolution, The Dead Letters mesmerized at Gordies Coffee House on Feb.19th...
The music had a sweeping operatic feel that ebbed and flowed dramatically between crescendos of complicated riffs...
Like the spaghetti-western music of Ennio Morricone, The Dead Letters elicited an image of a lonely, wind-swept desert plain, only darker and more European than Morricone's creations.



- The Projector - Red River College-Winnipeg

Billed as a Balkan-Influenced spaghetti-western soundtrack to the revolution, The Dead Letters mesmerized at Gordies Coffee House on Feb.19th...
The music had a sweeping operatic feel that ebbed and flowed dramatically between crescendos of complicated riffs...
Like the spaghetti-western music of Ennio Morricone, The Dead Letters elicited an image of a lonely, wind-swept desert plain, only darker and more European than Morricone's creations.



- The Projector - Red River College-Winnipeg

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. - Interrobang - London, Ontario

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. - Interrobang - London, Ontario

Consisting of long-time collaborators Jim Demos and Alex Janusz (National Monument) and recent addition Jill Winzoski on the violin, the Dead Letters are an instrumental trio that pay homage to the likes of Ennio Morricone and other spaghetti western composers through original compositions. From the riding-high tones of “Ghost of a Thousand Battles” to the graceful and spellbinding “Cathedral of Leaves” and finally the haunting and masterfully conceived “War,” each epic track is loaded with atmospheric tension and beautiful dramatic intensity. Although some of their previous live material was a lot more loud and rockin’, this three-song EP is no less powerful or enchanting as any of their live shows. - Stylus Magazine University of Winnipeg

Consisting of long-time collaborators Jim Demos and Alex Janusz (National Monument) and recent addition Jill Winzoski on the violin, the Dead Letters are an instrumental trio that pay homage to the likes of Ennio Morricone and other spaghetti western composers through original compositions. From the riding-high tones of “Ghost of a Thousand Battles” to the graceful and spellbinding “Cathedral of Leaves” and finally the haunting and masterfully conceived “War,” each epic track is loaded with atmospheric tension and beautiful dramatic intensity. Although some of their previous live material was a lot more loud and rockin’, this three-song EP is no less powerful or enchanting as any of their live shows. - Stylus Magazine University of Winnipeg

There’s something quiet about spaghetti westerns. The storylines are basic enough: enigmatic cowboy hero draws-and-fires his way to the bottom of the human condition. But even during the most raucous of gun battles, that certain calmness, illustrated in the landscape, is always maintained.

As these films propel their stories onward, they differentiate themselves from Hollywood’s old West. Not content to pit cowboys against Indians and let the guns blast, in these films the west becomes a dusty fairytale of heroes and villains. Much of the mystique is thanks to the creative scoring that accompanies the roaming bandits throughout the films.

The Dead Letters’ primary influence is Ennio Morricone, composer of countless spaghetti western film scores. He was responsible for such iconic scores as The Good, the Bad and the Ugly, Fistful of Dollars and Once Upon a Time in the West. Not surprising, then, that guitarists Jim Demos and Alex Janusz, the group's primary songwriters and some fashion of roaming bandits themselves, conjure a mood reminiscent of those old westerns.

Demos — a direct descendent of Demosthenes, acclaimed orator and “overflowing fountain of genius” — formed the band with his long-time compadre from the now-defunct National Monument, Janusz, the son of a Polish prospector. According to the band’s website, “As a young child [Demos] was indoctrinated with Demotika and Rebetika music.” While not evident lickety-split, these influences, along with Morricone, become apparent as the short E.P. gallops onward. More evident — particularly as the first track, “Ghost of A Thousand Battles,” jumps to life — is the western orientation of Janusz’ personal influences.

The E.P. rolls on and, like the score of a Sergio Leonne flick, peters in and out of catchy gallops, slow builds and dramatic surges. A viola and guitarrone, played by Jill Winzoski and Alex Janusz respectively, lend the songs an air of authenticity.

But the comparison reveals one shortfall of the album, however. Leonne’s films show a great propensity for patience. Certain scenes expend themselves at their own pace as though waiting for the next movement of the score to draw them onward. The Dead Letters attempts this in its closing track, “Wars,” but, at a lean 20 total minutes, just doesn’t have time to execute properly. It’s a fantastic album, particularly for those fans of Joanna Newsom or Black Mountain, but I’ll wait for a full length before joining the posse. - The Manitoban - University of Manitoba

There’s something quiet about spaghetti westerns. The storylines are basic enough: enigmatic cowboy hero draws-and-fires his way to the bottom of the human condition. But even during the most raucous of gun battles, that certain calmness, illustrated in the landscape, is always maintained.

As these films propel their stories onward, they differentiate themselves from Hollywood’s old West. Not content to pit cowboys against Indians and let the guns blast, in these films the west becomes a dusty fairytale of heroes and villains. Much of the mystique is thanks to the creative scoring that accompanies the roaming bandits throughout the films.

The Dead Letters’ primary influence is Ennio Morricone, composer of countless spaghetti western film scores. He was responsible for such iconic scores as The Good, the Bad and the Ugly, Fistful of Dollars and Once Upon a Time in the West. Not surprising, then, that guitarists Jim Demos and Alex Janusz, the group's primary songwriters and some fashion of roaming bandits themselves, conjure a mood reminiscent of those old westerns.

Demos — a direct descendent of Demosthenes, acclaimed orator and “overflowing fountain of genius” — formed the band with his long-time compadre from the now-defunct National Monument, Janusz, the son of a Polish prospector. According to the band’s website, “As a young child [Demos] was indoctrinated with Demotika and Rebetika music.” While not evident lickety-split, these influences, along with Morricone, become apparent as the short E.P. gallops onward. More evident — particularly as the first track, “Ghost of A Thousand Battles,” jumps to life — is the western orientation of Janusz’ personal influences.

The E.P. rolls on and, like the score of a Sergio Leonne flick, peters in and out of catchy gallops, slow builds and dramatic surges. A viola and guitarrone, played by Jill Winzoski and Alex Janusz respectively, lend the songs an air of authenticity.

But the comparison reveals one shortfall of the album, however. Leonne’s films show a great propensity for patience. Certain scenes expend themselves at their own pace as though waiting for the next movement of the score to draw them onward. The Dead Letters attempts this in its closing track, “Wars,” but, at a lean 20 total minutes, just doesn’t have time to execute properly. It’s a fantastic album, particularly for those fans of Joanna Newsom or Black Mountain, but I’ll wait for a full length before joining the posse. - The Manitoban - University of Manitoba