Customer Reviews

Dead Word

5 star:		(5)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Dead Soul Tribe continues to put out albums on a yearly basis ever since their A Murder of Crows masterwork came out in 2003. With The January Tree, in my opinion, Devon Graves not only released his best work, but he also proved himself as an exceptional poet with excellent ability in songwriting and production. Together with drummer Adel Moustafa, they wrote and recorded one of the finest releases of the year. So after a year, The Dead Word comes out, marking the release of the band's fourth album. And needless to say, it carries Graves' unique sound all over it.

As Devon Graves himself stated, The Dead Word is the fastest album recording he has achieved in his career. Written, arranged, recorded and mixed in only one month, perhaps in order to meet contractual obligations that say one album every year, this is perhaps Graves' most solo work to date, excluding the eponymous debut album. While still solid and in no way disappointing, from a musical standpoint, The Dead Word seems a bit rushed, often ending up like a sequel to the band's previous album. The opening song, kicking in after the atmospheric intro "Prelude: Time and Pressure", is almost identical in structure and dynamics to the first track of The January Tree, "Spiders and Flies". Its slow yet effective start takes on a good drum and bass rhythmic support where Devon sings in his expressive whispered tone, before the song explodes into a catchy vocal melody eerily similar to the aforementioned track. Secret Tool riffs and remarkable drum fills establish the classic Dead Soul Tribe sound as Devon shifts to a more aggressive vocal style (now that's something new compared to his other albums) and finishes the tune with a quite angry tone.

Strangely, most things you hear on The Dead Word sound like you've heard them before, and they seem to be reproduced with little touches of variation. Furthermore, with the exception of a few tunes, most of these songs are bass and drum-rich with restrained inclusion of Devon's flute and piano playing, as well as rhythm and lead guitar. I am inclined to believe Devon actually plays all instruments on this album, except drums, and his main focus is obviously the bass. Adel Moustafa often plays his amazing drums in impressive harmony with Devon's bass lines, adding in some intricate fills along the way. Apart from the complex piece "Waiting in Line", which is the first song they recorded together, the album is minimalistic and less ornate . This song has a great groove, shimmering cymbal taps, flute sounds, and a relatively more challenging chorus. Though not a revolutionary cut, overall it's on par with the best stuff on The January Tree. According to the information on their website, this track took a while to complete in the studio. I've been wondering if that's why they decided to go for a simpler and less busy style on most of the other songs. The multiple vocal harmonies-laden and epic tracks like "A Fistful of Bended Nails" and "The Long Ride Home", the only piece co-written by drummer Adel Moustafa, feature a great deal of rhythm guitars that increase the tension and intensity of the songs, utilising ethnic percussion, subtle flute, piano and bass sections, while "To My Beloved..." and "Don't You Ever Hurt?" are heavily bass-filled cuts delivered through the dichotomy of heavy and soft instrumental passages. That said, "Don't You Ever Hurt?" has a great mystical vibe to it with an upbeat melody and overdubbed vocal lines by Devon. The interesting message of the song is delivered through spoken lyrics somewhere in the middle. It's just both of these songs don't possess the melodic and harmonic quality we've come to expect from Dead Soul Tribe. They are totally cool in their own way, but to think how much better they would sound with piano, flute, bells, amd staggering harmonies is a bit confusing.

The centrepieces of the album, in my opinion, are the acoustic ballad "Some Sane Advice" and its counterpart and the relatively heavier "Let the Hammer Fall". The former song is a continuous shift between lush acoustics and multi-textured choruses, with sirens wailing non-stop towards the end, conjuring up visions of half a dozen police cars arriving at a murder scene by the shores of an isolated lake. Slowly, the song fades out, but the sirens do not. They are still audible on the following piece where keys and guitars are blended and a heavier musical experiment is executed. As with every DST release, the album's most experimental song is the electronic "My Dying Wish", a song punctuated by weird tuba sounds, more ethnic percussion, and highly processed electronic soundscapes. The Dead Word is going to hit any new fan. It is amazing on its own merits, but for freaks like myself, it may fall a bit short of its mark. Unless you have high expectations though, you will be blown away when you hear Devon Graves' new output.

Devon Graves never dissapoints me whether it was with Psychotic Waltz, solo or with Deadsoul Tribe (not: Dead Soul Tribe). I can play his music over and over again without getting bored. I have a playlist of all his work on my iPod, which is great. When you shuffle the music Devon has created over the last 15 odd years you can really appreciate the greatness of all the individual songs. I have many favorites.

After listening to The Dead Word for numerous times I must conclude that this is once again a masterpiece. Devon's vocals are clearer, stronger and more versatile than ever (great mixing!). The songs are strong and exciting.

I am looking forward to seeing this band play live in Amstelveen, The Netherlands on January 6th 2006.

I am (once again) impressed.

The Good
Tribal drumbeats and tortured vocals dominate on the CDs first single "A Flight on Angels Wings". There are some wicked bass and guitar riffs as the track progresses. A thick bass line lays the blueprint for "To My Beloved...". Graves shares his pain through his deep and passionate vocal delivery. Devon is at his best on the guitar heavy chorus. Dead Soul Tribe breaks through their melancholy tones with the addictive up-tempo track "Don't You Ever Hurt?". "Let the Hammer Fall" is a pure metal composition complete with meaty riffs and biting guitar solos. On "Waiting in Line" the focus shifts to Graves multi-tracked vocal harmonies. They come off haunting, yet melodic. Dead Soul Tribe employs lots of electronic progressive elements on "My Dying Wish".

The Bad
Nothing notable

The Verdict
It's apparent that Devon Graves is a dark and tortured soul on The Dead Word. One man's pain becomes your pleasure, as it translates into some great progressive metal. What exactly tortures our vocalist/lyricist is up to you to decipher.

Devon's last two albums (Crows and Tree) are two of my favorite albums of the 21st century, so far. There was never any doubt in my mind that I would buy this new album, then, and I'm sure I'll buy the next one (assuming we are lucky enough that he continues to make more albums.)

However, all I can think of is that this particular album was just rushed - the material wasn't quite ready and the mix sounds a bit off to me in ways I'm not sure I can adequately describe, other that it isn't as polished as the last two albums. Some of this material definitely sounds like a re-hash of the 2002 release, so sort of a step backwards in a sense. Having said that, "Some Sane Advice" moves into my own personal "Best of" DST list, while "The Long Ride Home" and "Let the Hammer Fall Down" make honorable mention. Dead Soul Tribe fans shouldn't take all this to mean I don't think this album isn't worth getting. I just suggest one has less expectations going in. Perhaps it was only natural there would be a let down, after doing four albums in four years - having one good one, two great ones, and now a pretty good one ain't bad!

However, for those new to Dead Soul Tribe, definitely pick up January Tree, first, A Murder of Crows second, and then get this one. (Or, heck, just buy them all now and listen to them in the correct order. :)

For me Deadsoul Tribe's strength is that they remind me of Tool, one of my favorite bands. They have a dark morose sound and lyrics, a similar disjointed, syncopated style, a heavy stop and go drum and guitar beat with unusual melodies, somewhat de-emphasizing the vocals for the sake of the strong instrumentation. That's not to say that, as a singer, Graves doesn't have his moments. He has a pleasant mid to high pitched voice and a decent style that together, with echo chambers and dual tracks, happens to compliment the music.

With each progressive release by both bands, it's gotten to where Deadsoul Tribe sounds more like Tool to me than Tool. Well at least somebody sounds like Tool.

If you have never heard of these guys or know little of them, I suspect that is about to change! For fans of Tool, Nine Inch Nails, Filter and Type O negative.

THE BAND: In the studio - Devon Graves (vocals, guitars, bass, piano, flute, keyboards), Adel Moustafa (drums & percussion). Additional players on tour - Roland Ivenz (bass), Rollz Kerschbaumer (guitars).

THE DISC: (2005) 11 tracks clocking in at approximately 47 minutes. Included with the disc is a 10-page booklet containing song titles/credits/times, song lyrics, band photos, and thank you's. All songs written by Graves (except "The Long Ride Home" by Graves and Moustafa). Also included on the disc is the 3+ minute video of "A Flight On An Angels Wing". This is the band's 4th studio album. Label - InsideOut Music.

COMMENTS: Outside of drums, Devon Graves is the complete package. Adept on many an instrument, a wonderful singer, a poet, and producer. As of this writing, "The Dead Word" stands out as my favorite album from Deadsoul Tribe (followed by "January Tree" from 2004). The music fits nicely in the progressive rock/metal category with touches of experimental and industrial rock...and all along you'll hear the band's trademark tribal rhythms mixed in. There are several references to Tool, and I hear that - vocally somewhat, guitars in brief moments, drumming definitely. Moustafa could be the reincarnation of Tool's godly drummer Danny Carey. Sample "A Flight On An Angels Wing", "Let The Hammer Fall", or "A Fistful Of Bended Nails" and you'll hear what I mean (Moustafa is systematically riding the tom-toms as much as the high-hat). You'll also hear Graves' admiration of Tull's Ian Anderson on "Waiting In Line" and "The Long Ride Home". I never thought the flute would work in such dark and somber melodies, but Graves makes it work. The album is to be experienced as a whole... listening to one song here and there doesn't do it justice in my book. As enigmatic as the music appears to be on the surface, I feel Graves is asking more unearthly questions (as opposed to telling us how it is or how it's going to be). I get the feeling from his lyrics that he's "cursed to bleed in burden", but all along in search of something greater. Though "waiting to die" he stresses "look to your heart and find what life is worth". Simply a great collection of songs. Only the minute-and-a-half piano ballad "Someday" seems oddly out of place. Dark, melodic, and heavy on atmosphere. I love this album - the music and the message (5 stars).

Devon Graves, vocalist and driving force behind Dead Soul Tribe, really can't seem to make a bad album. His uniquely dark yet philosophical vision lends an almost dignified air to the proceedings on this fourth release from his excellent and highly underrated band.

Dead Soul Tribe are often compared to Tool, and they do share certain similarities- but Dead Soul Tribe tend to be more varied and diverse in their style, and seem more dynamic and engaging to me, as well as less pretentious. Tool fans would certainly find a lot to sink their teeth into here (and I actually like this album more than the latest Tool release), but Dead Soul have their own unique sound and aesthetic that is quite intelligent and thought-provoking, full of social commentary and rebellious cynicism.

Full of excellent songwriting, pulsing, creative guitar that can be both quite heavy at times, yet quite melodic and placid as well, and the incredible vocal stylings and creative direction of the inimitable Devon Graves, this album is a musical triumph which grows and breathes upon repeated spins, revealings layers of subtlety and nuance. Highly recommended for any fan of thoughtful, dark art rock such as Tool, Porcupine Tree, A Perfect Circle, etc.

Solid CD from these prog metal rockers. Great riffs from the guitar department. I really like this band and I think they are on the threshold of making a classic CD. The second song is the best. Awesome Amerigus.

`The Dead Word' marks DsT's fourth release, after the self-titled debut, which was certainly fresh and interesting, the next two albums `A Murder of Crows' and `The January Tree' rooted DsT's position in the progressive rock/metal world. Controlled by the highly inventive multi-instrumentalist Devon Graves (ex-Psychotic Waltz, also a fine band) DsT's music explores dark and bleak soundscapes with a unique style. Comparisons to Tool are often made, and one can certainly see why, Graves's voice at times has the same nasally quality of Keenan's, and the drummer Adel Moustafa certainly has that tribal flavour about his playing, similar in some ways to Tool's great Danny Carey. The general style of playing is far different from Tool however, the songs are generally shorter, more `trimmed' and don't have that improvised feeling to a lot of Tools work.

As for the `lack' of diversity from the previous DsT releases, seemingly the main criticism of this album, I can certainly understand this as Graves' formula has not really changed. This does not detract from the music in my opinion however, DsT have found a niche in the prog world...it works...why change it? Perhaps I would like to see Graves try something truly progressive, such as a 10minute plus track, I believe this may well bring the subtle DsT sound together with the heavy climatical moments.

As for the music on here, there really isn't anything to criticise, it has everything I'd want from DsT. The most notable songs are the brooding `Flight On An Angels Wings' where Graves really unleashes the vocals towards the end, the infectious melodies of `Don't You Ever Hurt?', the catchy almost pop of `Some Sane Advice', the experimental `My Dying Wish' (similar to the experimental `Wings Of Faith' on the last album) and the dark, tense `Fist Full Of Bended Nails'.

For those interested in progressive metal, or progressive rock with a darker edge to it, I would seriously recommend any of the four DsT albums to date.

This is my first foray into the Dead Soul Tribe and I can quite honestly say I like what I hear. Whether you call it prog-metal or art metal, the sound is relatively unique and thankfully different than the usual mainstream hard rock / metal music these days. Devon Graves is definitely a gifted vocalist able to emote warmth and subtlety one moment and roar with power the next moment. At times, he reminds me a lot of Maynard James Keenan from Tool, especially on the second track. I really like the drumming by Adel Moustafa who isn't content with just playing the same, basic beats throughout each song. He adds a great deal of different styles and fills to keep the percussion interesting and varied while at the same time adding a great deal of texture to each composition.

I have only one complaint about this recording, and that has to do with the production and mixing. One aspect of Prog music that I really like is that it is generally produced and mixed better than mainstream music. Like a good deal of recordings these days, everyone wants to mix their albums as hot and loud as possible. Unfortunately, this usually results in clipping. As good as the production seems on this album, the mixing is so darned hot that it clips in spots. As an audiophile, I find this most annoying. The most obvious spot of clipping occurs at the 4:40 mark of Waiting in Line. While the clipping isn't nearly as bad and obvious as on Rush's album Vapor Trails or Uriah Heep's album Sea of Light, it's still annoying in that it should not have been necessary for this album to have been mixed so hot.