My grandad used to use the word “character” as a compliment. “He’s a bit of a character,” he’d say. For him, it meant someone unique, full of personality. For me, it’s different. The same goes for “whacky”—anyone with a “You don’t have to be mad to work here, but it helps” sign on their desk should be avoided.
Weird for weird’s sake? Never liked it. That’s why Frank Zappa and similar artists never clicked with me. But if you genuinely see the world differently, like Electric Six or The Inspector Cluzo, that’s fine. The Deadnotes sit somewhere between those two poles.
From the opening moments of “December 31st,” this album is something special. “I am trying hard to be less suicidal, and pay more respect to the dead,” sing best friends Darius Lohmüller and Jakob Walheim before the song explodes into life with saxophones and strings. That seamlessly flows into “Jesus Christ! (I’m Sick And Tired Of Falling In Love),” where anything goes, from soul to blistering guitar solos.
“American Sightseer” carries the same energy as a Hold Steady track but played with the flair of The Killers. There’s a melting pot of styles here, yet it all blends together beautifully. “Show Me What Love Is” brings a funky, sassy soul groove, while “Soundtrack Of Our Lives” is lush and expansive—ambition pulses through every note.
“Jolene (I’m In Love With A Superstar)” arrives with a disco swagger, and while it’s hard to tell where fiction meets reality, “Dumb Style” feels like it leans toward the latter. Mostly, though, the album is bouncier than a three-year-old at a trampoline park, with synths on “Marlboro Man” reinforcing that vibe.
When it wants to, Rock N Roll Saviour delivers pure rock nostalgia. “Reservoir” throws on its 1984-style shoulder pads without hesitation, and for those craving a piano ballad, “Texas On My Mind” has got you covered.
The Deadnotes, a German band who recorded this album in England, describe themselves as “lovesick on outsider days.” You get the sense that’s every day for them—and that’s exactly what makes this record so good.
It’s got character, you see.
REVIEW: THE DEADNOTES – ROCK N ROLL SAVIOUR (2025)
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