Sometimes it feels like Devin Townsend’s records pops up right out thin air. I usually have a sharp eye when it comes to new releases but either is the promotion substandard or it’s me that has lost some sharpness. The last album I heard with Townsend was 2019’s Empath, an album that I got knowledge of on its release-day – just like this one – but I found out about its two follow-ups The Puzzle and Snuggles, both released in 2021, when this record came out. Still haven’t heard any of them. What I do know is that I really thought Empath was a strong album and lots of his solo stuff is damn brilliant. Which means I have high expectations on this one.
Opener and lead-off single “Moonpeople” starts out almost industrial before it continues somewhat held-back and atmospheric with a big pop-flirt melodically. There’s a tranquil vibe to his vocal arrangement, something we’re used to when it comes to Townsend but when the tune gets bigger and more bombastic, his vocals tends to go into a more operatic structure. The soundscape is large and the mix of orchestration and industrial sounds work fine. On top we get very catchy melodies and a strong chorus with a sharp hook. Very good.
Second single “Lightworker”starts out on a ballad note with big keyboards, acoustic guitars and a dreamy ambience. There’s a slight musical-theatre vibe to the whole song much because of the dramatic arrangements. The mild-mannered and smooth vocal-melodies holds an appealing structure that gives a kind of calming impression. The chorus takes a more metal-laden and heavier approach, something that makes the whole piece more dynamic. It’s a phenomenal piece of music that gives me goose-bumps every time I hear it.
Starting out on a big riff in a large soundscape, “Equinox” goes into the low-key yet upbeat verse with some laid-back vocal-melodies that take us into the world of Pop. The song then takes a turn and throws on a groovier rhythm with some spacey and hypnotic keyboards. The chorus holds some contagious pop-melodies and when Townsend blends clean vocals with screamy ones there’s a distinct dynamic that brings the song up another step. This is brilliant.
The big ballad and single “Call Of The Void” is much more low-key and mellow but with a rhythm that’s more upbeat which builds a nice contrast. There’s a sombre touch to the song brought on by the smooth keyboards whereas the vocal melodies comes on as both dreamy and spacey. It’s grandiose and colorful in all its simplicity but with distinct hooks and a gorgeous main melody with a refrain that really grabs a hold. I love this.
“Heartbreaker” is the first real hard-rocker that kicks away with a chuggy riff on a punchy beat, still on a slower pace. That being said, it do hold some dramatic and held-back vocal-lines and almost trippy moments with softer passages. The main-melody however is a direct affair with a memorable hook and the chorus catches on without too much poppiness. Good one. On a heavier note “Dimensions” comes on with some electronica twists and a sort of monotone rhythm. Dark, slightly industrial and a bit experimental it’s straight ahead yet a bit robotic and blends clean vocals with half-growls/screams. It’s distinct and in-your-face yet with striking melodies. This is really good stuff.
“Celestial Signals” is upbeat and straight forward but also prog-laden. It’s bombastic and symphonic at times with a clear Metal vibe to it all. Big keyboards rubs shoulder with crispy guitars and the vocal-lines are big and dramatic – and holds some glistening hooks. There are times I think of A Perfect Circle here and there are parts where today’s Therion comes to mind but most of all it sounds just like Devin Townsend. The main melody is made of distinct pop-rock structure and the chorus is solid and really catchy and effective. Great tune.
The dramatic and cinematic “Heavy Burden” brings on pop-laden musical theatre and it’s a damn melodic piece with some cool time-changes which brings on some proggy touches to the tune. Of course there’s some chunky guitar work with immediate riffs, a spaced-out and dreamlike atmosphere and a memorable and catchy vocal-melody which rides on a direct and steady rhythm. It’s an adventurous track yet still it manages to stick right from go. Great stuff. “Vacation” on the other hand is a calming, softer and held-back pop-song with smooth keyboards ad acoustic guitars on a good beat. It’s fine-tuned, happy-go-lucky, cute and smooth with a contagious vocal-melody. I really like this.
The album closes with the epic 10-minute prog-metal beast “Children Of God”. The song starts soothing yet upbeat with hypnotic and even tranquil vocal-melodies that brings on an almost trippy atmosphere inside a grandiose soundscape. We get layers of vocals, big guitars and keyboards – all very much the Townsend approach. The song also holds a dreamy passage that softens the song and it takes a sparse and low-key approach and when the song draws close to the end, sounds of waves and bird-song enters the song – a quite typical Townsend move. While the tune might be a couple of minutes too long it’s never annoying at all. I dig this.
As always when it comes to Devin Townsend we can only expect the unexpected and not even that can be expected. At the same time, the songs are quite recognizable as Townsend music. As usual, Townsend throws as much as he can into the mix but this time it feels like he’s been going for a more pop-oriented and more accessible route, leaving out a lot of the more Thrash Metal laden aggressive stuff. Sure, there’s Metal involved, of course but it’s more Transcendence (2016) than say Strapping Young Lad. It’s still heavy but it’s more drawn to the dramatic, atmospheric and grandiose. Make of that what you will but it’s all Devin Townsend and it’s all damn good.
8/10
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Tracklist:
1. Moonpeople
2. Lightworker
3. Equinox
4. Call Of The Void
5. Heartbreaker
6. Dimensions
7. Celestial Signals
8. Heavy Burden
9. Vacation
10. Children Of God
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