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Issue New Year's Eve Special. Published Saturday 31 December — 4 years ago. Issue X-mas Special. Published Sunday 25 December — 4 years ago. Issue Flute Prog Special, Part 4. Published Thursday 22 December — 4 years ago. Issue Published Sunday 18 December — 4 years ago. Issue Flute Prog Special, Part 3. Published Thursday 15 December — 4 Album) ago. Published Sunday 11 December — 4 years ago. Issue Flute Prog Special, Part 2.

Published Thursday 8 December — 4 years ago. Published Sunday 4 December — 4 years ago. Issue Flute Prog Special, Part 1. Published Thursday 1 December — 4 years ago. Published Thursday 24 November — 4 years ago. Published Sunday 20 November — 4 years ago. Published Sunday 13 November — 4 years ago. Published Thursday 10 November — 4 years ago. Published Sunday 6 November — 4 years ago.

Published Thursday 3 November — 4 years ago. I'm Dead! Published Sunday 30 October — 4 years ago. Published Sunday 16 October — 4 years ago. Published Sunday 2 October — 5 years ago. Published Sunday 25 September — 5 years ago. Now Devin is someone I have always admired for using the growl, scream or yell in a way that's heartfelt, tasteful, and within context.

In fact, Devin was the main contributor to my acceptance of distorted vocals in music. But the technique just falls so flat on Sky Blue. Often within a melodic chorus he would add a layer of growling vocal atop the regular vocal, possibly to fit as much as he possibly can within the mix, and it's irritating and not at all necessary for creative direction of these songs. It spoils what are otherwise perfectly serviceable additions to the Epicloud formula. This issue was also present in Dark Matters.

In terms of positives, I really enjoy the uplifting 'Midnight Sun', perhaps because it's not quite as heavy as the other songs. My favourite is 'Warrior'. Anneke is on lead vocals, which is always a good thing, and the lydian verses are very interesting melodically and rhythmically. And like 'Midnight Sun' it's a nice break from the growlo. But Anneke's hypnotic melancholic vocals during the chorus make it worthwhile.

Album) the final 4 tracks, there's a shift to more quiet and soundscapey vibe, which is welcome but it somehow still sounds too dense and Devin's breathy vocals are getting annoying at this point. Also, for whatever reason there's this feeling of a heightened sense of self-importance about it that I can't quite explain, but it's off-putting. I think I've said everything I've needed to say about this mammoth collection.

Well done for making it this far. Overall, there's some value with Z2 but for me it's one of Devin's lesser Album). Come for main album - stay for the bonus disc! To me, it was a success. Afterwards, with the influence of listening to mainstream radio - which was apparently a side effect of raising a young child - Devin would see his interest in his pop side return after having already explored it with the second DTP album Addicted one of my favourites of his.

As a result Epicloud was born and would see the next stage of the DTP moniker going in a more commercial creative direction with a consistent band - the fellas from The Devin Townsend Band, who appeared in and out throughout the first four DTP albums.

Epicloud picks up where Addicted left off with energetic pop metal and Anneke van Giersbergen's angelic assisting vocals, but now with some developments to the sound. Firstly, the tone has shifted from an industrial, punchy, 'cool' vibe, towards a more emotional, lovey-dovey and uplifting tone, both in the music and lyrics.

Epicloud is just bursting with positive energy. Also, now there's a choir! Secondly, the album dives into the pop realm with more conviction, especially through the use of certain chord sequences that, in my ears, would point to a musician losing artistic credibility. But for Devin this is clearly about letting go, having fun, and giving in to the catchiness.

Lastly, as the title might suggest, Devin doubles down with the massive reverby in-your-face wall-of-sound production that a lot of his earlier work had to a lesser degree.

For me, these developments from Addicted are a step backward in enjoyability. The generic pop elements and dense production can be a bit much, and it feels a little less authentic. But there's still some effervescent quality to be found. After an a cappella intro straight out of left-field we begin with 'True North'.

The intro to this song is Earth Day - Devin Townsend Project - Ziltoid Live At The Royal Albert Hall (CD with an infectious melody and Anneke's celestial reverberations that burn into your brain for all eternity. This is probably why I revisit the album often. Other decent tracks are 'Where We Belong'; a softer uplifting track, 'Save Our Now'; a super catchy dancy tune, 'Lessons'; a calm instrumental breather, 'More'; the most Ziltoidian track on the album at least on the first discand 'Angel'; the powerful closer.

There are also some worthwhile bonus tracks on the Vinyl and Itunes editions of the album, most notably the pleasant 'Take My Ego', which could easily be an Abba song with different instrumentation.

It's the only song on the album where Anneke has full lead vocal duties and there should have been more. I must give special mention for the very memorable and impressively sung 'Kingdom', a pre-existing track with a new facelift. It's a prime example of 'happy metal' in case you need to show anyone who doubts the existence of such a thing. The song has gotten a lot of traction in recent times with many reaction videos popping up on Youtube, displaying people's jaws drop when Devin unleashes the mighty vocal vibrato.

It's become a modern staple of Devin, ushering in the newer generation of fans. The remaining album is a bit ordinary. Epicloud is decent, but to me, perhaps one of the lesser albums of Devin's discography. With the Epiclouder tracks it's clear there's just as much love poured into them and the only reason they were left off the album was that they didn't quite fit the uniform. As a consequence there's now a level of freedom that allows more variety and experimentation. The mishmash of different styles nod to all the original DTP albums, but still somewhat keep to the emotion and accessibility on Epicloud.

What's great is that these tracks aren't given the same overproduced, 'fill-every-frequency' audio treatment like the main album, so it's more listenable. I can breathe. While they are called 'demos', they sound like slick finished products, as do all of Devin's demos in the latter part of his career. Epiclouder is my favourite DTP album of the 'commercial era'. There's a healthy mix of dreamy rock and metal songs, Anneke's shining voice, and more ripper guitar solos.

Some standouts are the beautiful 'Happy Birthday', the metallic dreampop of 'Love Tonight', and the theatrical 'The Mind Wasp', which sounds like if a Disney villain were to sing a metal song. Then there's the prog metal masterpiece Socialization Epiclouder is playful, inspired, and eccentric. It is through this bonus album I've introduced many people to Devin Townsend. Terria occurred as part of a healing process after a rather chaotic and difficult time for Devin.

A few years prior, with the help of hallucinogens, a Christ complex and accompanying bipolar diagnosis had formed throughout the creation of the album Infinity, and a period of intense depression and regret followed during Physicist. Terria was a time of 'acceptance', as Devin would put it - an acceptance that he is just an ordinary human being like everyone else, whose art isn't the centre of the universe but something to do for a living and enjoy.

Life goes on, man. Devin even begun dressing in beige like a regular citizen, hence the man on the album cover. It wasn't necessarily happy times but an emotional numbness that said 'yeah, it's ok. I'm ok. The concept of Terria - the earthy song titles, sounds and album cover - came when Devin was driving through the Canadian countryside on a tour.

It acts as a bit of an ode to his home country in all its natural beauty. It gets the feel across. The album begins with the instrumental 'Olives' and what an incredibly intriguing way to open an album. The very strange tone and textures building to a fuzzy onslaught of heaviness is so satisfying. The voice saying 'olives' throughout Because why not. The complimentary atmospheric synths established here and heard throughout the album brought Close to the Edge to mind upon first listen.

Other highlights from the album include 'Deep Peace', a softer track with a brilliant mid-section of a more typical prog rock vibe, featuring one of the most memorable guitar solos Devin's ever done. And then there's 'Nobody's Here' and 'Stagnant,' two simply structured tracks that indulge in being super unapologetically dramatic and almost cheesy, the former track especially.

I love them very much. The only issue I have with the album is the choice to make the bass drum very prominent in the mix, cutting through everything else. But it's no deal breaker. Devin has admitted resentment towards SYL at the time, as it was this successful platform taking the limelight away from the kind of music he really wanted to do. So he sought to spitefully prove he could quickly establish another band hence 'Accelerated Evolution' and produce music just as, if not more, meaningful, with comparatively inexperienced musicians.

It would also be an opportunity to stick it to his management who were skeptical he could possibly do both. In addition to that, Devin wanted to play with fans of his solo work who could bring fresh perspectives. The goal with Accelerated Evolution was to strip back the more abstract and layered elements of the previous album Terria, because some listeners were criticizing these for some reasonto create a basic band-oriented album with a very minimal focus on overdubbing.

It was to be akin to the tone of Devin's solo debut Ocean Machine but 'more simple and blunted' as Devin would put it. This is quite an enjoyable and accessible album. It's certainly the most commercial album Devin had done at the time, with catchy hooks and mostly positive vibes; only 'Deadhead' and 'Suicide' darkening the tone a little.

The vocals are performed to an incredible standard - Devin seamlessly blends soft vocals, epic vibrato, and screaming into the songs; 'Storm' being a perfect example. And while I wouldn't usually welcome screams in this kind of melodic music, Devin's feel like they come from an authentic place and naturally fit with the music. While the production has been stripped back regarding instruments and sounds, Devin's trademark reverby wall of sound is still present, but done in relative moderation.

I can recall a time when after listening to the almost overbearing, dense production of the more recent Z2 albums, coming back to this felt like I could breathe again. There's a real consistency to Accelerated Evolution. Every song is loud. Every song has the vocals, electric guitar rhythm, bass, the drummer constantly riding the crash cymbal, synth pads While this brings uniformity to the album, this is the main issue I have with it - Every song is the same colour, so to speak.

There's not much to differentiate them regarding texture, tempo, and volume. This is something the Devin Townsend Band will address on their next album Synchestra. As someone who gravitates towards dynamics and variety, this prevents me from revisiting Accelerated Evolution often. There are however some standout moments. It provides a holiday from 'Singer-Songwriter Devin Townsend' so we can hear the less-common but very skilled 'Guitarist Devin Earth Day - Devin Townsend Project - Ziltoid Live At The Royal Albert Hall (CD.

The moments in his albums where he allows himself to indulge in guitar wankery is always a treat. In he formed the Devin Townsend Band, a dedicated lineup which recorded and toured for two of his solo releases. Inhe disbanded both Strapping Young Lad and the Devin Townsend Band, taking a break from touring to spend more time with his family.

After a two-year hiatus, he began recording again, and soon announced the formation of the Devin Townsend Project. The project began with a series of four albums, released from toeach written in a different style. Townsend continued to record and tour under the new moniker until January The group recorded a few songs together, although Townsend says that they never intended to go further than that.

Sexoturica compilation. Terria was released in November After a five-year break from recording, Strapping Young Lad reunited to record a new album. Townsend credits the album, Strapping Young Lad, as an emotional response to the attacks of September 11,in the US. The self-titled album was released in February With the project stalled, Townsend instead wrote the album himself, entitling it Physicist.

Townsend assembled his Strapping Young Lad bandmates to record it, the only time this lineup was featured on a Devin Townsend album.

Hoglan and the rest of the band were dissatisfied with the way the sound was mixed, and Townsend considers it his worst album to been in a relationship with?. Townsend has revealed in interviews that he suffers from depression. He was diagnosed with bipolar disorder arounda condition that was unknowingly exacerbated by his alcohol and drug use at the time; he has been sober and free of anti-psychotic medication since After the completion of City and Ocean Machine: biographymech, Townsend began to approach a mental breakdown.

Townsend returned to the studio, accompanied by Hoglan, to work on the album, on which Townsend played most of the instruments. Infinity was released in October Later in his career, Townsend has cited Infinity as his favorite solo record. Written and recorded in under a month, the album was produced as a parody of punk rock bands and documents the act of selling out for mainstream success.

Townsend founded his own independent record label, HevyDevy Records, to release the album. The industrial-influenced album was released in Later that year, Townsend released his second solo album, Ocean Machine: biographymech.

The album featured a mix of hard rock, ambient, and progressive rock. He would still make use of the Peavey head for some solo recordings, such as Synchestra. One of his favorites is the Roland GP, a unit that Townsend still uses along with his Fractal units. Townsend recorded a Noisescapes demo and sent copies to various record labels. Relativity Records responded to Townsend with a record deal and Townsend began work on what was to be the first Noisescapes album, Promise.

Shortly afterward, the label introduced him to musician Steve Vai. He played live with the band throughout half of in Europe, and appeared as a guest musician Earth Day - Devin Townsend Project - Ziltoid Live At The Royal Albert Hall (CD their single Urge.

He agreed to a five-album deal with the record label, and also provided much of the guitar work on the album Millennium and the album Hard Wired by Vancouver industrial band Front Line Assembly. Townsend began to record material under the pseudonym Strapping Young Lad. He avoided using his real name at this point in career, looking for a fresh start after his high-profile Vai gig.

This was the guitar that was used during the shows in support of Heavy as a Really Heavy Thing, and the shows in support of City. During the late s and the s, he was also seen with two ESP Telecaster models one white, one black with EMG 81 pickups, which were used for the majority of his six-string material.


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