Dread Fury's Devil’s Advocate or Heaven’s Prophet offers a treat of a double album—it’s an ambitious narrative that intertwines themes of self-discovery, duality, and redemption. Recorded entirely in his home studio, Fury's third album is a testament to his prowess as a one-man band. From the gritty soul of Sinner’s Banquet to the introspective grace of Underneath Your Mask, Fury crafts a 25-track opus that captures the complexities of human experience with authenticity and groove.
A Story in Two Parts
Split into two thematic halves, Devil’s Advocate or Heaven’s Prophet explores the push-and-pull of identity. The first half plunges listeners into trials, tribulations, and existential angst. Tracks like Masquerade of the Darkened Hearts and Codeine Cocktail evoke emotional turbulence, channeling Marvin Gaye’s introspection with a Prince-like flair for theatrics. Meanwhile, Blaze of Glory brings an energetic burst of rebellion, infused with rock guitar licks and driving rhythms.
The second half transitions into hope and redemption. Joy Within My Soul and My Redemption (I’m Calling Out to You) shine with uplifting melodies and heartfelt lyrics. The final track, Second Life, is a sprawling, eight-minute anthem that encapsulates the album’s emotional journey, blending soulful riffs with anthemic choruses.
Musicianship and Production
Dread Fury’s multi-instrumental talent is evident throughout the album. From the gritty blues guitar of She Wants the Ride to the lo-fi beats of 30 Pieces, Fury’s compositions showcase his versatility. His use of interludes—Heaven’s Prophet (Interlude) and On Dignity (Interlude)—gives the album cinematic pacing, making the transitions between tracks feel like acts in a play.
The album’s production, though lo-fi by design, perfectly complements its raw emotional depth. The intimate recording style gives tracks like Could Be Me an organic authenticity, reminiscent of early indie-soul records.
Themes and Lyrics
Fury’s lyrics are deeply introspective, drawing listeners into a journey of self-reflection. At This Moment in Time is a standout, with its poignant exploration of self-doubt and resilience. Similarly, Soon, We Can All Go Home Again offers a tender commentary on belonging and forgiveness.
His influences—ranging from Chuck Berry to Lauryn Hill—are subtly woven into the album’s DNA. Tracks like Ties and Cliques and Turn It ‘Round boast a timeless quality, blending modern sensibilities with vintage soul and rock undertones.
Final Thoughts
Devil’s Advocate or Heaven’s Prophet lures listeners into an odyssey through Dread Fury’s ability to combine storytelling, genre-blending, and profound lyrical content into a cohesive double album is remarkable. Whether exploring the darker edges of identity or celebrating the light within, this record leaves listeners with both a groove in their step and questions in their minds.
With this release, Dread Fury has cemented his place as a bold voice in alternative soul and rock, one whose music dares to navigate life’s dualities head-on.
Please continue reading to find our interview
INTERVIEW
Your double album Devil's Advocate or Heaven's Prophet tells a deeply personal story of self-discovery and duality. What inspired you to create such an ambitious narrative-driven project, and how did the concept evolve during the writing and recording process?
I was inspired by exploring the concept of duality within the human psyche for a while. I always wanted to try and tell a story and in looking at what is going on in the world at present, I feel that this album is really important in that we take care of ourselves and try and feel right spiritually. I’ve been wanting to make a a double album for a long time, looking at how the likes of Prince and Stevie Wonder made theirs. Once I made around six tracks into the album did I feel that a concept was forming and now I’ve made full use of it.
You’ve crafted this entire album in your home studio, playing most of the instruments yourself. What challenges and rewards come with being a one-man band, both in the studio and during live performances?
I love being a one-man-band. It means that I answer to no-one and that I also can work at my own pace. I can work on the things I want and spend as much time as needed. The challenges I have really is that I end up taking on a lot of responsibility but I thrive on that. Also, others try to make you work for them once they hear you play your own instruments but won’t pay you for it. They never seem to understand how much time it takes up. That said, working with my friend, Nanette, who plays cello on three of the tracks was great because working with her felt natural. Playing live, I love the fact that I get to show something different and yet impact the audience in a way where they see different types of musicianship. I’ll always get someone coming up to me after a performance and asking about my live setup so it shows that people are paying attention.
Your influences range from Chuck Berry to Lauryn Hill, and your sound encompasses genres like soul, rock, and lo-fi blues. How do you blend these diverse influences into something uniquely your own?
The great thing about the artists you named is that they did something that was true to them. Chuck Berry was one of the first rock’n’rollers and he managed to make his own sound, having been influenced by Sister Rosetta Tharpe. Lauryn Hill was with the Fugees who had a different sound in Hip-Hop compared to others and when she went solo, she created an album of mind-blowing sounds and brilliant lyrics. Prince showed me that you can make a statement and change the game without sacrificing your principals and that’s what I try to show in music. I listen to a lot of music. Different types such as soul, blues, indie, rock, hip hop, jazz, classical etc and you will find something different each time. It will inspire each time.
The album takes listeners on a journey through trials, redemption, and self-acceptance. Which track holds the most personal significance for you, and why?
I’m going to say “Sinner’s Banquet.” It kind of represents how I see the world now. There’s a lot going on in the world at the moment and it seems like we can’t think for ourselves. We seem to enjoy being led and sometimes it feels as if we think we have more value if we have like-minded people around us. I tend to try and focus on doing the things I enjoy doing, such as making music, and sometimes that leads to me being branded eccentric. “Sinner’s Banquet” is about God telling the protagonist what happens at these parties and I sometimes feel like I end up at these type of places during social interaction so I try to keep to myself for the most part. Its quite telling that it’s my most streamed song.
Your live performances, with the use of a loop pedal, have been described as vibrant and impossible not to dance to. How do you approach translating the layered and introspective nature of your studio work into such energetic live shows?
When it comes to live performance, the first most important thing is the groove. You have to make sure that what you are doing has a pulse. That connects the audience. I’m always looking for ways to play new songs live and making them sound great. I recently added a micro synthesizer to my live setup and it gives something extra in filling the track. Then it’s about the delivery. You have to perform the song like it means the world to you and if you put enough into the performance, it will translate to your audience. Once you get that basic performance structure, you can do anything you want with it. I’ve learned to balance the loop-heavy tracks with the non-loop tracks and that makes for a show heavy on variety.
With several charting albums and EPs under your belt, how does Devil's Advocate or Heaven's Prophet reflect your growth as an artist compared to your earlier works like Catch the Wind While It Blows?
“Devil’s Advocate or Heaven’s Prophet” is an album made by someone who has fully grown and confident to know that they are not perfect. Musically, you can hear a musician who understands a number of genres and is showing what he can do. Devil’s Advocate or Heaven’s Prophet is my most focused effort as the storyline is constant through out. It’s basically what “Catch The Wind While It Blows” would sound like if it was an album. It’s a melting pot of funky styles and blunt beats that I managed to mix together cohesively. In terms of writing, I’m telling more stories but this is the first time where I tell a story that leads to a conclusion over two discs.
Looking ahead, how do you envision the next chapter of Dread Fury's journey? Are there any new creative directions, collaborations, or projects on the horizon?
It’s a little difficult to predict right now My focus is to get some more live shows this year so maybe a live album/EP will be the next step in terms of the next chapter. I have to feel inspired to write and record and it feels like this latest release has taken that up so after a bit of a rest it might come back. Who knows?
Key Tracks:
Sinner’s Banquet
Could Be Me
Second Life
Genre: Alternative Rock, Soul Rock, Lo-Fi Hip-Hop Beats, Blues, Retro Soul Rock, Bedroom Pop
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