The Dead Word

Devon Graves really nailed it on the previous two records, and making a worthy follow-up was never going to be easy. Still recording as a two-piece with Adel Moustafa, “The Dead Word” feels much more like a solo-project than what came before. It’s a rather introspective record, not really entertaining the idea of catchy, towering choruses of its predecessor. What DeadSoul Tribe do here is retreat to focus on hypnotic tribal beats and building up an ominous atmosphere. There are two issues that spring from that.

The first one is that “The Dead Word” is by far the most Tool-influenced record of the band’s career. This may not have been deliberate, it’s just that Moustafa is very stylistically similar and Devon Graves’ voice is not all that far removed from the more animated moments of Maynard James Keenan. Just listen to the “Spinning through this hollow void” part in “A Fistuful of Bended Nails” (with a cute homage to Iron Maiden in its intro) and tell me they don’t sound alike. Also, “Flight on an Angel’s Wing” is strikingly similar to a stock Tool song, except maybe a tad more climactic when Graves completely nails the menacing howl of “Carry me home”.

That being said, Devon has a vast toolbox when it comes to mixing it up. Such ideas are what makes this record worthwhile, despite being used as details, rather than core songwriting ideas. For instance, the folkish acoustics of “Some Sane Advice” create a stunning, uplifting vibe from out of nowhere, only to be crushed under the nervous chugging of the following “Let The Hammer Fall”. The common denominator is unease and gloom - that’s something “The Dead Word” succeeds in. There are industrial/electronic bits, acoustics, and even a wonderful piano-and-vocals interlude that feels like a soundtrack. However, these things come out of the woodwork only after several listens.

Issue number two lies precisely in the fact that this is no easy album to get into. The emphasis on catchy riffs and basslines is sacrificed in favor of consistency. It’s a compact record, but good luck remembering individual songs after one spin. After three listens, though, it’s hard to not fall to the alternating heavy riffs and creepy melodies of Devon’s beloved flute (... Jethro Tool, anyone?) in “Waiting in Line”. The folk meets industrial in the chorus “My Dying Wish”, the high point of the record in terms of finding a unique sound. A notable moment also comes in the heaviest track, “Don’t You Ever Hurt?” with that recurring, pounding snare fill.

Virtually the only sin of omission this record commits is neglecting the lead guitars, save for a few moments. While the riffs follow a similar pattern, they are not the main focus, but there are moments where the album turns just plods in one rhythm for a few moments. This could have easily been fleshed out in some way, and guitar melodies would surely elevate “The Dead Word” a bit further.

In hindsight, this album is probably the least dynamic of all the DeadSoul Tribe records, but has no shortage of inspired ideas. It may feel tiring at times, and I find myself reaching for any other record besides the debut instead. However, on it’s own, beneath a subtle and inaccessible shell, there is the sweet core of plentiful good ideas, amazing, emotional vocals and a well-defined combination of heaviness and melody. “The Dead Word” knows where its weaknesses lie and, for the most part, succeeds in eliminating their effects, making it a great album, albeit not the best place to start with the band.