I don’t know if it was a good thing that Psychotic Waltz split years ago, but I’m sure that the birth of Deadsoul Tribe, with main culprit of it Buddy Lackey a.k.a. Devon Graves, was not going to happen if the situation was different. From 2002 the growth of these guys is happening gradual and bit by bit. The beginning with the self-titled “Deadsoul Tribe” and “A Murder of Crows” will always be emblematic, but the next creative attempts did not give way to the tough start. “A Lullaby for the Devil” is the newest occasion to remember the multi-instrumentalist Graves and his experimental nature, which throughout six years brings the fruits on the tree of success for his new band. I’m risking by writing a cliché, but this album is really the best that this musician with his helpers can possibly do. The first impressions here are not misleading, but give a clear idea about the content of the CD. Since the disc is full of ten great compositions, we can not miss any of them. The dissection is detailed, because such a multilayer creation is heavy and full with links. “Psychosphere” is a fiery choice for a beginning. Tough bass, drums and a voice like a cry of an alarm welcome you from the first minute. It’s hard to feel normal after such a start. But there is no time for thinking. Next is “Goodbye City Life”, in which the picture almost changes its nuances. Almost…The apocalyptic atmosphere is continued like the world is at its end, and we take a sad goodbye with our “city life”. Suddenly the bewitching melody of Devon’s flute arrives. The shapes are moving again. The calm sound of the instrument brings pacification and tranquillity after the catastrophe that happened. A quiet whisper is brought again in “Here Come the Pigs”, where, almost hysterically, the power of the guitar sound is added and the air is rarefied for you to take a deep breath. The vocals are becoming crazier and insistent; they overflow in a recitative. “Lost in You” makes us remember the earlier Deadsoul Tribe releases. The well-known feelings and melodies are back. Devon sings clearly, with a calm voice. But this is for short. After seconds he is exploding in the restless and desperate chorus. The album continues with a calmer part. There are “A Stairway to Nowhere” and the wonderful instrumental for flute, guitar and piano “The Gossamer Strand”. We can feel the play of the sounds over each other and the fight for superiority, which is created in a unique way in it. The tough and slow guitars bring back the advantage of the stable help of the bass in “Any Sign At All”. With an acoustic part, such as in a lullaby, starts “Fear”, which is constructed by complex vocal-instrumental compositions. The next dose of aggression is woken up with the violent ninth song, “Further Down”. The end of the disc comes logically with the self-titled track. You can hardly wait for it after the previous hurricane оf emotions. The piano is back to be involved in – let’s face it - the best composition on the record. Yes, the best of Deadsoul Tribe shines in a special way in “A Lullaby for the Devil”... After a series of hearings you finally understand that the band has succeeded in finding its own face. The new album is perfect without any doubt. I admire Devon Graves’ ability to exceed all expectations when they seem impossible. The euphoria from “A Lullaby for the Devil” is normal after even the artwork of the disc is amazingly well chosen and with its simple view puts direct links to Jethro Tull’s music. That’s what I call a brilliant job!