The graft put in has given them an advantage despite their relocation, and the hard, long grind certainly permeates through the DEADLETTER discography, but it hasn't been a simple transition; moving into an overwhelming world with a gig a minute on every street corner has been, "humbling, I would say," George offers.

"It was hard work," Zac agrees. "We were all wearing rose-tinted glasses when we made the move. In reality, it was like; we're six months in, and there are more than three people at our shows; that's great! Having time to find yourself, to figure out who and what you are artistically – which we're still working out, by the way – is crucial. Different experiences shape you, and the way you live shapes you.

Labouring 9-5 alongside sustaining an artistic endeavour is not a unique circumstance in this age, but it palpably adds some texture to DEADLETTER's output. The six band members may not live a life of glamour, but they've already collected enough stories to justify the hardship; spotting BTS pole-dancing next to them after performing at Paris Fashion Week is one such surreal encounter.

In climbing on up in the world, DEADLETTER have made a conscious effort to ditch some of the scrappiness of their youthful efforts in favour of a more polished strategy that respects the contributions of their increased membership. They don't diss the rawness of a live recording, though, and are trying to find that balance themselves while remaining realistic.

It is the lyrics that add the final ingredient to this growing recipe of garage, post-punk goodness, and Zac evidently isn't shy to express his opinions on a wide range of topics, debuting with 'Good Old Days' two months into the pandemic and following it up with 'Fit For Work', musings on toxic nostalgia and governmental failings have since taken a backseat to something more ambiguous.

"One thing I absolutely love is reading when someone has completely interpreted it in the opposite way to how I've tried to lay it out," the frontman grins. "I like that; that's what art is. It's there to be interpreted, reinterpreted and misinterpreted. This modern-day thing of having to write a quote about everything we put out is bullshit; your ideas have already been hung out on a washing line before they even have a chance to be digested or grown into something new. It completely takes the essence of creativity away from it by having to explain yourself. Why should you?"

In that more implicit space, there is still room for variation. Big hit 'Binge' – a highlight from 2022's stellar debut EP, 'Heat!' – sneers less at overarching societal systems and instead pokes fun at human trends without insulting those who participate in them. "A lot of the things that I talk about lyrically are things which everyone is guilty of. I've made a point of pointing out that I'm guilty as charged, just as much as the next person," Zac admits, "but you can still comment on something which you find to be alarming or shocking even if you are one of the people who is somewhat responsible for it."

A fine, well-crafted track with detailed verses, sharp instrumentals and a catchy chorus, the track is a fine example of DEADLETTER's newfound capabilities. Having come together in "about 25 minutes", the concise songwriting process the band abide by means that anything without an immediate sense of directness and appeal goes back in the drawer for re-examination another day.

That drawer, it seems, must be full of scathing criticisms, but Zac refuses to accept any implication of a negative mindset: "If you take us as pessimistic, that's purely a result of the realism you're being faced with." Taking influence from John Cooper Clarke at a young age, the combination of gloomy topics and joyful atmospheres is one the group have all instilled into their musical input. "You can use levity to shine a light on something that is actually quite dark and miserable; it can be satisfying."

Timeless viewpoints aside, DEADLETTER try to collectively keep their heads down without taking too many notes on the landscape around them, preferring to develop and mature in their own lane. "If you're looking side to side, you're going to get caught up in what is going on around you," the singer clarifies. "Trends and even sounds. If you look backwards, that's no longer the present. You can't get caught up in the past because it's done; it's impossible to insert yourself back there. It's a philosophy I believe in; if you want to move forwards in an effective manner, you've got to look backwards to do so, not to your left or your right."

Looking forward for one brief moment, the band are beginning to enter album territory after the release of a few standalone singles in 2023. With successful headline tours across the UK under their belt, the resources for recording a full-length project are soon to be allocated. It's not been a straight road to this point, but George explains that the romanticism remains very much present. "We've been working towards a music career for 11 years, so another year doesn't matter to us that much. We'd be doing it whether we got paid or not."