Full-length, InsideOut Music PROMO CD.
The cover artwork is a hidden tribute to Ian Anderson (Jethro Tull), his typical pose with a flute from the 70s like a Pied-Piper
Total playing time 53:46
Deadsoul Tribe -“ A Lullaby For The Devil
Label: Inside Out Music -“ IOMCD 281, SPV Recordings -“ SPV 80001144 PRCD
Format: CD, Album, Promo
Released: September 11th, 2007
Genre: Prog Rock, Heavy Metal
1 Psychosphere 3:36
2 Good Bye City Life 8:28
3 Here Come The Pigs 4:01
4 Lost In You 4:56
5 A Stairway To Heaven 6:35
6 The Gossamer Strand 6:21
7 Any Sign At All 6:17
8 Fear 4:25
9 Further Down 2:58
10 A Lullaby For The Devil 6:14
Total playing time 53:46
Distributed By -“ SPV GmbH -“ SPV 79572 CD-E
Manufactured By -“ Sonopress Arvato -“ 52330078
Issued in a cardboard sleeve.
Matrix / Runout: Sonopress Arvato [Logo] 52330078/8000114421
Mastering SID Code: IFPI LB 45
Mould SID Code: IFPI 0788
Rights Society: GEMA
Label Code: LC 01414
CHECK 10 songs (the whole album):
Dead Soul Tribe, the band founded by former Psychotic Waltz musician Devon Graves (a.k.a. Buddy Lackey), has always been progressive – in other words, forward-looking. Yet Graves and his three colleagues have set sail for new shores with their new album, A Lullaby For The Devil . The strategy is simple. Total change , Graves talks proudly of the accomplished ten new songs. Compared to its four predecessors, the recording explores musical extremes even more thoroughly then ever before.
Graves explanations make clear why he classifies the music on A Lullaby For The Devil as modern-day heavy metal . The song Psychosphere , for example, is based on a strong bass riff that the musicians developed towards the end of a band rehearsal, arranging it into an exciting song. A Stairway To Nowhere , on the other hand, lives off its unusual vocal arrangements that bring to mind Peter Gabriel s experimental work. And Here Come the Pigs sees the band present a heavy song with a low-sung, almost hypnotic vocal melody. Says Graves: Reminds me a little of Rob Zombie.
5.0 out of 5 stars Developing a new voice…, S
Judging by the material presented on A Lullaby for the Devil, it is obvious Devon Graves and his band have opted to develop a new voice and move into uncharted territory. After releasing the highly acclaimed A Murder of Crows and following it up with the flawless masterpiece The January Tree, Graves produced The Dead Word, the band’s fourth studio album. And while all of these albums are successful in their own right, The Dead Word was definitely the last statement he could make in that style, as all three albums were cut from the same cloth and it was about time they did something different.
Originally intended to be a double album, A Lullaby for the Devil features Graves’ choice of best tunes he wrote and produced over a lengthy time. As a matter of fact, while The Dead Word was written, recorded and produced in just over a month, the new album’s production stage took months alone. This record features the band trying to break new ground, starting with significantly heavier compositions, such as the album opener “”Psychosphere”” and the short but incredibly powerful “”Further Down””. Devon Graves sings as aggressively as possible, bringing to mind his phenomenal work in Psychotic Waltz in nearly a decade. His semi-growled voice works perfectly in the context of jarring, angular guitar riffs and grumbling bass drive. Adel Moustafa’s drumming is so laser-precise, it sounds like a perfectly timed machine actually.
“”Goodbye City Life”” would be a good choice to represent the overall flow of the album. The longest tune, it brings forth eerie sound effects, strange narrations, and a militaristic drum march in its intro, creating an epic-scale arrangement. The atmosphere achieved on this piece is frightening, with stabbing guitar drills whose tone evoke Psychotic Waltz circa Into the Everflow. And when Graves adds his furious rapid-fire lyrics to the piece following a sweet clean vocal section atop dreamy acoustic guitars and seductive piano, the tune erupts into a challenging progressive metal monster laden with an extensive flute arrangement and Opethian staccato workout.
There is so much novelty put on display here. The heavy-duty riffery of “”Here Come the Pigs””, a song as angry as its title suggests, boasts screaming guitars and pounding rhythms whilst retaining a Middle Eastern flavour in its main melody. Once again, given its aggressive nature, it is more so reminiscent of Psychotic Waltz than earlier Dead Soul Tribe material. On the emotive piece “”A Stairway to Nowhere””, Devon Graves’ singing and the vocal arrangement recall Steven Wilson on the Stupid Dream album, charged with industrial-like beats, synth textures, and guitar crescendos. The harmony vocals at the end are similar to the creepy stuff heard on earlier Peter Gabriel albums.
There is also an amazing instrumental song on the album. As stated before, there is plenty of flute playing here, and rather than an added element, the flute becomes the central instrument on “”The Gossamer Strand””. Easily the most progressive song on this disc, it is pervaded by an instantly noticeable melody which is brilliantly recreated by drummer Adel Moustafa in the second half. The bluesy guitar solo is a bit like Gary Moore, particularly because of its unique bends and articulation. It begins as a painfully slow number but develops into a fierce rocker at the finale.
The one song that recalls Dead Soul Tribe’s older tracks is “”Any Sign At All””, built on a thudding bass groove and Tool-like guitar and vocal combination. It is a good song, but they have written stuff in this vein much better on the previous albums. Those anticipating a moving ballad will definitely enjoy “”Fear””, another track with a cool blues solo, and wonderful multiple vocals at the end. The title track is dark and haunting. It combines the band’s slow piano work with Graves’ mournful delivery in the beginning, but quickly moves into a hard-hitting piece increasing the degree of tempo and intensity. The song is a good example of how versatile a singer Devon Graves truly is.
Dead Soul Tribe have constructed a leviathan of sound with this album. At times it is mercilessly crude and raw, but intentionally so. Then it oozes impossible beauty and sheer emotion. Though it’s unlikely it will surpass A Murder of Crows or The January Tree, this is easily the most diverse album they’ve done and they deserve to be applauded for their solid experimentation.
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