Album Review: Devin Townsend Project - Transcendence

Canadian musician/producer Devin Townsend is an enigma. His career and discography is mind-boggling both in the quality and variety of material within, but also the sheer volume. To date, he has released something approximating 25 studio albums (9 as a solo artist and 16 in collaboration with others), and that is before we begin to scratch the surface of his early musical career. If you're not a metalhead though, the chances are you won't even have heard of him. By Jove, are you missing out.

Take this latest effort as an example. Shorn, literally (see right), of his extreme metallic leanings, we find him back teaming up with his self-titled 'Project' to continue his exploration of the arena-filling euphoric rock that so endeared 2014's Sky Blue release to his fanbase. Essentially, what we have here is part-symphonic rock, part-pagan folk with short stabs at both dream pop and power metal. Digging in, we find another chapter has been added to "The Devin Townsend Book Of More Is More". Now that hasn't always been the case, but this is new Devin here; clean, sober and loving life. In fact, he's really opened up to the point where he's now collaborating with his band. It's a process that he has described as "more streamlined, more efficient and more fulfilling". Essentially that means he churns out a load of rough material, brings it to rehearsal and the band help him smooth it all out.

Anneke Van Giersbergen is back adding her infectious, joyous vocal to the mix. Here though, surprisingly, she is used more sparingly, adding harmonies to lift the vocal blend rather than performing a reprise of the starring role she took on the band's last release. So less is more? Huh? Certainly, those thrilling bursts from her that bubble up through the mix, pop like little, effervescent fireworks. Less may actually be more effective! It's almost hard to imagine a Dev album without her now. Wouldn't it be like drinking flat Coke? That gospel choir fill is also back making things "epic" and here he uses them to flood the senses - just don't try counting the layers.

There's strong hints from his back catalogue, from Sky Blue, Epicloud and also Infinity. In fact, originally featuring on that 1999 Infinity album, the opener is a remaster of the song "Truth". That, coupled with an inspired remix of Ween's "Transdermal Celebration" bookend the album. The former re-introduces Dev's calling card; his ultra-high production values and those big, expansive layers. The latter is catchy as hell and is certainly worth inclusion if just for the lush line "Laid on the lawn, he's already home when the morning rain hits his face". Despite it's spaced-out crystal backline, it does feel disconnected from the rest of the album and should be viewed as a bit of a bonus track. Certainly, that 5-minute cosmic, multi-part extended wash smacks of showing off.

In fact it's a slight over-simplification, but you could almost divide this album down the middle. The best tracks do all seem to come straight off the bat. "Stormbending" features Dev at his most heartfelt, belting out his lyrics like his chest is bursting with pride; determined to expand our minds and souls with lines like "Time is a human construct / A new world below the waves". The warbling guitar solo looms large here; a mere hint of its increased use later on. It is back firing behind the strutting pomp of the chugging strings that drive "Failure". The volume of it certainly adds a burst of grunt to Dev's wandering vocal. You do get the sense that he's more interested in building the sonic crush this time round than throwing out unique vocal tricks. It is driving us assuredly down a fantasy/power metal road.

Then, like two magnificent sunbursts we get "Secret Sciences" and "Higher". The catchy riff and superb build of the former invigorates, opening with the intriguing line "Yesterday I woke afraid / unable to discern if the fears were even tangible" before revealing the concept with "Let it go anyway / Let it be a part of yesterday". Essentially the man is preaching that we must love our selves and our kind and to do that we have to be the bigger man in any problem situation; to change our own perception. It's a theme that spreads itself from this core track, threading its way throughout the album. Behind it all, we are wonderfully re-introduced to Anneke  and a sublime walking bass guitar riff. That explosion into the chorus is a joy and when the vocal drifts back in the mix there is a creeping top line lead to pick out the hooks.

On to that other doozy, "Higher". From gentle beginnings - an opening hush that echoes elements from 2011's Ghost and even Foo Fighters' own experiment with the soft on 2005's In Your Honor - we hit the exclamation to go "Higher! Higher! Higher!". Rest assured, by the time it hits the track's apex, we're experiencing a mid-section hitting manic technical jazz guitar, complete with brash sweeps, roars and down-tuned chug-obsessed guitar. It all bristles with the same glorious madness that his 2011 Deconstruction album was built upon. Here though, the band always keep the song's heart close by returning to the light at regular intervals. Those final orchestral movements offer Dev the chance to bring the choir to the fore and they lead us back to the track's climax. Is this not the very definition of "epic metal"?

There are a few weaknesses to consider and those do come in the promised latter half of the album. "Stars" certainly provides the same sort of initial comedown as it's neighbour. Deliberate, but here it is less ambitious. The chord structures begin to feel a little anachronistic; the slumbering vocal hush yearns to be adored. But still that walking middle-eight in repose is a killer cut-away. These little moments of genius make such simple songs essential. The main vocal certainly knows when to take a backseat in the mix to the glorious warmth of the choir. What doesn't run so smoothly is the continuous full-bore hit that the title-track attempts straight after. The baritones in the choir set the mood and then Anneke takes over and the oppressive flood of the thing begins to melt away. But does it go anywhere, does it say anything or is it mere filler? It seems you can be crushed by heavily-layered mood music. Who knew?

One final thorn is left but all I'll say is have a listen to the song "Have I Told You Lately?" by Van Morrison, Rod Stewart or any other artist, before listening to "From My Heart" and try not to marry the two. It's impossible, right? Even a heart-warming message like that isn't worth an eight-minute run time though.

So yes, it's a cracking release from DTP but it's not without fault. You certainly get your money's worth though and only a fool would hesitate before recommending it. With an insanely-successful career like that behind him, you can be sure that an on-point Devin Townsend is a goddamn genius. Out-of-synch, he's merely essential listening.

Also online @ The Line Of Best Fit = http://www.thelineofbestfit.com/reviews/albums/devin-townsend-project-transcendence

DVD Review: Redemption – Live From The Pit

Redemption, formed in 2000, are an LA-based progressive metal band who dabble in combining the melodious sounds of the old 70s bands with the contemporary. There’s plenty of moments here that will have you recalling monsters like Rainbow or Rush, but there are some strong Eurorock touches in here too and there’s plenty of groove and grunt for those seeking out the more rounded feel of, say, a Dream Theater or an Iron Maiden.

Now let’s get this out the way. This DVD is fairly unsympathetic when it comes to covering the sound (in 5.1 surround) and visual elements of what Redemption have to offer. Funnily enough, the CD that comes packaged with this seems to be more of a balanced audio representation of the band’s abilities. However, if you do want to grab a snapshot of the band on the road, without actually being in “the pit”, then it certainly covers the basics.

The screen at the back of this particular show in Atlanta, Georgia displays words, pictures, psychedelic patterns, images, messages & videos which all seem designed to spark a reaction. Most, however, receive little more than a smattering of whoops from the fairly unresponsive crowd. My favourite had to be the words “Cancer is my bitch” which flashed up during a track written about cheating death and fighting the great fight.

The band as a live act seem a fairly static, play-straight-through, kind of band. Some gyrate with the music more than others, but mostly stay rooted to the spot. This inactiveness ranges from the rather sullen, stock-still keyboardist, cast almost entirely in shadow, to the vocalist who gently saunters around pausing occasionally to briefly engage with the onlookers. Consequently, Redemption appear every one of their years as they fail to fully engage – hardly an excuse when you consider the lengths that those old dogs Iron Maiden go to.

You’ll also immediately notice the the occasional bass drop-out and booming return here which occurs as the sound-desk tweak the levels. There is also the vocal cut-off as frontman Ray Alder continues to struggle with gauging the distance he can hold the mic from his mouth. The cameras are static, one full-frontal stage shot gets overused, but there are a couple of close-up cameras and one hand-held that roves around. More shots of the crowd might well have reinforced the connection between those on stage and those in front, but the fans are mainly hidden until the encore.

When it comes to the music, some of the riffs and progressions aptly display their love for bands like the afore-mentioned Maiden and Dream Theater, but when they find their feet and begin to thrash you’ll also notice their admiration for the power of Megadeth and Machine Head. They certainly aren’t afraid to use intros and radio rips to build the atmosphere. Conversely, the sparse lighting rig doesn’t help this cause using little more than tri-coloured spots and blackouts between tracks.

Happily the music soon picks up from a fairly feeble start and by the time they are hitting the complex construct that is “Dreams From The Pit”, with its multiple passages, hooks and melodic themes, they begin to really fire. It isn’t soon after that they are broaching more sensitive subjects such as 9/11, addiction and religious extremism which draw approving nods from the crowd.

“Parker’s Eyes”, in particular, sees bassist Sean Andrews with his hearty 6-string Ibanez, grab the spotlight and offers Alder the chance to use his huge vocal to great effect. He sports a sweet, husky tone and displays strength, passion and plenty of emotion in many of the set’s slower moments.

Redemption find their highlights when they are parading the triplet of “Noonday Devil” (grubby and gloriously thrashy), “Nocturnal” (with its teasing riff that falls disappointingly away), and “Stronger Than Death”. This latter hit sports a sweet riff, gutsy underbelly and fiery nature. Other superb little numbers are “The Death Of Faith And Reason” which has menace, bite and plenty of thrash woven into it and their finishing flourish, “Walls”. This final track is clearly their biggest hit as it finally gets the reaction from the crowd that their skilful reproduction of the music has deserved. Here, we do get a shot of the crowd and it reveals some clapping, pogoing and even sparks one or two singalongs.

What seems obvious from this whole package is that Redemption write their best music when they find themselves at their most angriest or sentimental. Strong emotions certainly seem to drive this band. Here’s hoping you catch a show when they’re really pissed off.

Also online @ Ave Noctum = http://www.avenoctum.com/2014/10/redemption-live-from-the-pit-sensory/

Album Review: Need – Orvam: A Song For Home

This third full-length album, following “The Wisdom Machine” and “Siamese God”, from the Greek quintet Need displays a complex grasp of 70s and contemporary prog metal. It comes spring-loaded with flighty melodic threads à la Dream Theater and Fates Warning. It consistently punches above its weight throwing in big hefty clumps of Nevermore-esque power rock and is never afraid to mine a rich seam of Tool-ian avant-garde quirks.

Opener “Lifeknot” emerges like some crazed dance robot before settling down into a steady switch-back between the half-time hush of the bitter verse and the lurching, rhythmic chorus. As you’d imagine with an album subtitle like “a song for home”, inevitably there is a sonic essence of the band’s homeland running throughout the music. That ethnic feel and tone comes through in spades on the 10-minute “Entheogen”, where we get a repeated and monotone mantra to chant back, middle-eastern guitar scales and instrumentation and a sashaying female top-end vocal piece.

Here, the multitude of layers from the foreground power of Jon V.’s emotive vocal, the interweaving shredded guitar work and the diverse soundscaped background are craftily-balanced, meaning these intial tracks are never overly-busy but varied enough to allow for a different focus on each listen.

The initial sections of “Symmetrape” threaten to break out into Rush or Journey at any point but Need quickly dispel any sense of a reclining into established AOR territory by throwing in a mind-blowing blast of stomp-heavy death-doom. It’s the most curious of tracks but rams home the point and beautifully focusses the mind on the screwy construction. The album soon establishes that theme and before-long the cutaways into lounge music, space-rock or funk piano begin to make a little more sense. Need seem able to integrate these niche segues with such ease, rarely lingering on them too long before returning to the spine of the track.

Critically, the album craves a key riff or vocal lick to really make Orvam stand out. “Construct” tries hardest of all by adding bite but neither that supreme wandering synth or repeated chorus line of “Time’s ticking away…” could be said to give this the necessary kick into the listener’s sub-conscious. Sadly, this almighty hour-long album also comes with an in-built tipping point. It appears when they break off for the off-putting, one-listen-only 3:26 spoken recording of existentialist psychobabble that constitutes “Hotel Oniro”.

That one piece alone will not make or break the album for you but the 18-minute title-track rock opera that follows may. Replete with vast orchestral flourishes and echoing the epic delivery of Turisas, it plods along at a doomy pace breathing heavy with a yawning vocal. It bristles, it slumps, it cracks us emotionally, it does the lot. Broken down into bite-size chunks, it would have been far more palatable and some sections will definitely strike a chord more than others.

Opening like a posessed demon and ending like the broken character art that adorns it, this monster of an album will grab you with its imaginative use of instrumentation and engaging stylistic skullduggery but, above all, its sheer honesty and range of emotional interplay. Think not of it as an album; think of it as a story, as a journey, as a song for home.

Also online @ Ave Noctum = http://www.avenoctum.com/2014/03/need-orvam-a-song-for-home-trailblazer/