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Devin Garrett Townsend (born May 5, 1972 in New Westminster, Canada) is an influential canadian multi-instrumentalist musician, vocalist and record producer, drawing on progressive metal with influences from jazz, blues, progressive rock, industrial, pop, ambient and classical music. He first came to widespread public exposure when Steve Vai tapped him as lead vocalist for his "Sex and Religion" album at age 21. He is the founding member of the extreme metal outfit Strapping Young Lad, and has released a multitude of his own albums under the monikers Ocean Machine, Devin Townsend, The Devin Townsend Band, and now Devin Townsend Project. His five-album contract deal with Strapping Young Lad was fulfilled with the release of 2006's The New Black, leaving the band on indefinite hiatus. The Devin Townsend Band was also retired from touring later that year. Townsend has stated that he will pursue his role as a record producer for read more...
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DEVIN TOWNSEND albums / top albums

DEVIN TOWNSEND Ocean Machine: Biomech album cover 4.20 | 54 ratings
Ocean Machine: Biomech
Progressive Metal 1997
DEVIN TOWNSEND Infinity album cover 3.63 | 30 ratings
Progressive Metal 1998
DEVIN TOWNSEND Physicist album cover 3.59 | 28 ratings
Progressive Metal 2000
DEVIN TOWNSEND Terria album cover 4.25 | 88 ratings
Progressive Metal 2001
DEVIN TOWNSEND Accelerated Evolution album cover 4.06 | 48 ratings
Accelerated Evolution
Progressive Metal 2003
DEVIN TOWNSEND Devlab album cover 1.98 | 11 ratings
Non-Metal 2004
DEVIN TOWNSEND Synchestra album cover 4.22 | 44 ratings
Progressive Metal 2006
DEVIN TOWNSEND Hummer album cover 3.14 | 11 ratings
Non-Metal 2006
DEVIN TOWNSEND Ziltoid The Omniscient album cover 4.33 | 101 ratings
Ziltoid The Omniscient
Progressive Metal 2007
DEVIN TOWNSEND Ki album cover 3.80 | 42 ratings
Metal Related 2009
DEVIN TOWNSEND Addicted album cover 3.94 | 51 ratings
Alternative Metal 2009
DEVIN TOWNSEND Deconstruction album cover 4.16 | 53 ratings
Progressive Metal 2011
DEVIN TOWNSEND Ghost album cover 3.59 | 46 ratings
Non-Metal 2011
DEVIN TOWNSEND Epicloud album cover 4.10 | 37 ratings
Progressive Metal 2012
DEVIN TOWNSEND Z2 album cover 3.41 | 14 ratings
Progressive Metal 2014
DEVIN TOWNSEND Transcendence album cover 3.96 | 10 ratings
Progressive Metal 2016
DEVIN TOWNSEND Empath album cover 4.33 | 6 ratings
Progressive Metal 2019


DEVIN TOWNSEND Infinity Ep: Christeen + 4 Demos album cover 3.43 | 3 ratings
Infinity Ep: Christeen + 4 Demos
Progressive Metal 1998
DEVIN TOWNSEND European Tour album cover 4.50 | 3 ratings
European Tour
Progressive Metal 2011

DEVIN TOWNSEND live albums

DEVIN TOWNSEND Official Bootleg 2000 album cover 4.33 | 3 ratings
Official Bootleg 2000
Progressive Metal 1999
DEVIN TOWNSEND Unplugged album cover 3.83 | 3 ratings
Non-Metal 2011
DEVIN TOWNSEND By A Thread: Live In London 2011 album cover 4.28 | 5 ratings
By A Thread: Live In London 2011
Progressive Metal 2012
DEVIN TOWNSEND The Retinal Circus album cover 4.93 | 6 ratings
The Retinal Circus
Progressive Metal 2013

DEVIN TOWNSEND demos, promos, fans club and other releases (no bootlegs)

DEVIN TOWNSEND Projekt Eko album cover 0.00 | 0 ratings
Projekt Eko
Progressive Metal 2003

DEVIN TOWNSEND re-issues & compilations

DEVIN TOWNSEND Ass-Sordid Demos: 1990-1996 album cover 4.00 | 3 ratings
Ass-Sordid Demos: 1990-1996
Progressive Metal 1999
DEVIN TOWNSEND Ass-Sordid Demos II album cover 4.50 | 1 ratings
Ass-Sordid Demos II
Progressive Metal 2004
DEVIN TOWNSEND Contain Us album cover 4.75 | 2 ratings
Contain Us
Progressive Metal 2012

DEVIN TOWNSEND singles (1)

.. Album Cover
3.00 | 1 ratings
Progressive Metal 1998

DEVIN TOWNSEND movies (DVD, Blu-Ray or VHS)



Album · 2011 · Non-Metal
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Let me take you back to 2011 for a moment. My junior year of high school had just come to an end, and I was ready to take on senior year in a few months. But in the summer that separated these events, my brother and I - along with a few friends - decided to attend a metal concert together. Children of Bodom, Devin Townsend, Obscura, and Septic Flesh were in the lineup for the show we attended at the Los Angeles House of Blues (back when that place was actually around… rest in peace). Now... usually, to get hyped up for a show, we’d play some sort of extreme metal to get us in the mood for the moshpit. However, when we finished a show, we’d try to wind down with something a bit more calming and relaxing to get rid of the intense headaches we’d likely have by the end of the event. But this particular show was significant for two reasons. 1: It was my very first concert (although unfortunately I got food poisoning. How’s that for a start?). 2. The album we chose for the car ride home would change the way I view music forever. It would not only be my favorite album of that year, but it would also be the record that opened the floodgates to a world of music I never even explored or considered.

Ghost had just been released in the summer of 2011 to coincide with the release of Deconstruction, and the two are quite obviously polar opposites. For everything the latter did to be loud and chaotic, the former would counter with the most mellow new age-oriented folk rock around. Devin Townsend had already explored the avenues of atmospheric rock before, as heard on the phenomenal solo releases Ocean Mahine and Terria. But Ghost was the first time that his sound was this stripped down and light on the typical distortion and force of his output. In fact, Deconstruction was the reason I went to that concert in the first place, but Ghost was the reason that the same night ended up turning my music taste on its head. All of a sudden, it was time to stop placing so much emphasis on pure technicality or brutality, and more on atmosphere and what “environment” the music inhabits. Before then, I was listening to progressive rock and metal almost exclusively; hearing genres such as folk, new age, or classical music (outside of piano lessons) was completely alien.

However, just the aspect of loving this album on a personal level doesn’t mean it can’t be appreciated on a more objective level. To put it simply, this experience is just beautiful. It loves immersing you in its world, taking you to exotic locations, and letting you stay for as long as you like. Devin’s the tour guide, and his smooth vocal performances are a perfect compliment to the lush, lavish instrumental passages that do their best to provide a aural sea to bathe in. Also, for as soft as the overall collection is, there’s a surprising amount of variety that helps it stand out. From the little swing-like rhythm of the title track, to the soothing bluegrass inflections of “Blackberry,” to the understated flute-driven melancholy of “Monsoon,” to the expansive ambient grace of “Infinite Ocean,” there’s a lot to sink your ears into. But the biggest thing that defines this album is the immersion. Rarely has an album - even in genres like new age or ambient - transported me away from reality and offered so much escapism. There’s still a lot of technical detail and intricate artistry that goes into this album, but it’s all poured into the atmosphere it generates. “Texada” in particular uses Devin’s trademark “Wall of Sound”-style production to create incredible layers of synthesizer and guitar melodies that resemble the feeling of floating on the ocean itself.

2011 almost feels like a distant memory today, but there’s no doubt that Ghost still casts its influence on my listening habits and interests even now. It’s fascinating that a musician who’s most famous for his metal output can explore the softer side of his art so well, but as he’s proven time and time again (Casualties of Cool being the most recent example), he’s truly an example of a multi-faceted artist who can cross genre boundaries with ease. And no matter how much City or Ocean Machine get brought up when people talk about Devin’s best records, Ghost will always be the one I associate the most with HevyDevy.


Album · 2001 · Progressive Metal
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I never considered myself much of a fan of this whole "experimental/post metal/tech metal" thing (I don't really understand what any genre of music with the word "post" in it means). I bought this album because it was cheap. I knew of Devin Townsend by reputation, but have never thought of myself as a fan. He did produce Stuck Mojo's 'Pigwalk' though, and that album is bloody brilliant!

But 'Terria'... one great big ball of "meh" from me. I find most of the songs too slow paced for my liking. Not that I mind slower songs, but these ones just plod along uninterestingly. Other than two songs, 'Earth Day' and 'Nobody's Here' (admittedly, two very good songs), I find most of the album boring. There's nothing catchy or memorable that incites anything from me other than dreariness.

The record does have a very "big" sound, and the vocals blend in with the music very well to create an almost dreamlike ambience. Sadly it just doesn't do anything to make the album any more appealing to me.

Devin Townsend's 'Terria' is not awful by any stretch, but it's just really not my thing. Simple as that.

I'd rather listen to Stuck Mojo!

DEVIN TOWNSEND Transcendence

Album · 2016 · Progressive Metal
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"Transcendence" is the seventh installment in the Devin Townsend Project discography and was released earlier this month. After a highly prolific release period from 2009 to 2014, which included the original four DTP albums, a live album, a box set of the four albums and live album and two discs of bonus material, a fifth DTP album "Epicloud", the Casualties of Cool album that had a special edition with an extra disc of bonus material, and the double album of DTP's "Sky Blue" and the Ziltoid sequel "Zed Squared", Devin Townsend prepared for a live performance of Ziltoid at the Albert Hall and then took a much-needed rest. On his web site he wrote that he had several ideas brewing for new albums including a project where he would play only bass guitar and another project that would include an Icelandic choir among other things. No matter what was to come, no one could be sure exactly what the Mad Man of Metal was going to do next, especially after surprise albums like "Ki", "Ghost" and "Casualties of Cool" which were so different from his more established, very loud wall of sound, aggressive pop metal approach.

At first I was a little disappointed with this album because it was exactly another installment in the very loud wall of sound aggressive pop metal approach. As we've heard on albums like "Terria", "Infinity", "Epicloud" and even "Zed Squared", Devin and the band play loud and layered heavy guitar music with a triad of screamed vocals that could make a poltergeist crap itself, soaring operatic vocals, and gentle vocals that could put a cranky baby to sleep. Guest vocalist Anneke Van Giersbergen, a regular on DTP releases, appears once again, though this time she takes less of a lead role than on "Addicted" and "Sky Blue". The music is generally a blend of aggressive heavy music and variations of adult contemporary progressive pop (by that I mean no bee-bop, bubble gum pop) but all filtered through the concept of overcoming lack of confidence and a tendency toward self-deprecation, hence the title and theme of "Transcendence".

As with "Epicloud" and perhaps even more so with "Sky Blue", the ultra heavy/aggro sound that Devin is known for at times is restrained here and only brought out in special moments that require that angst effect. There's actually a lot of acoustic guitar here compared to the other two albums mentioned above in this paragraph and even when the heavy electric guitars are thundering away it's possible to pick out the strummed acoustic guitar in some tracks. By the end of the album there's a noticeable change in direction toward lighter music with some very pleasing and beautiful moments. Of course, Devin's music often has what I call the audio equivalent of the swimming pool chlorine effect, which is because when I was a kid, after coming out of the pool I could see hazy rainbows around any light sources because of the chlorine in the water. Devin's mixing approach has a hazy, nebulous, echoing cloud of sound around the vocals, keyboards and guitars, and there's no exception here.

As I stated earlier, I was originally disappointed and that was because I had been expecting possibly hearing something really new and refreshing instead of what I quickly concluded was part three in the trilogy of "new" DTP albums that includes "Epicloud" and "Sky Blue". Remember that the original concept of the Devin Townsend Project was to release four distinctly different albums which is what we got with "Addicted", "Ki", "Deconstruction", and "Ghost". These latter three follow a more similar formula which could be considered the Devin Townsend style of the 2010's. However, after the third and fourth listen through, I found myself enjoying this new album more. It also made me want to go back and listen to a variety of songs from Devin's catalogue and I listened to a 58-song mixed playlist that also included songs from his other band, the defunct extreme metal outfit Strapping Young Lad. Thinking about it now, "Transcendence" is very much a Devin Townsend album.

I bought the special edition with a bonus disc called "Holding Patterns" which features two additional completed tracks and a bunch of demos which actually sound good enough to not be called demos (Devin says that demos are prepared ready to hear as they should sound though the songs might still undergo some changes in the mixing before growing out of their demo status). While the songs on "Transcendence" are meant to be based on deeper and more profound notions, the tracks on the bonus disc are a variety of moods including high-speed, aggro metal, pop metal, a song resembling a dance remix of an eighties dance rock song done in DTP style, and a classic rock and roll song with piano but also done in the wall-of-sound, in-your-face style of DTP. There's also an instrumental featuring Devin's lead guitar playing, which is actually very good but he downplays it in the album notes.

Fans of Devin will have nothing to complain about here. It's yet another solid album. Newcomers will be alright to hear this album first, though I personally would recommend starting with "Terria" and "Synchestra". I have been wavering about the star rating, unsure of whether to award four stars or three. I would choose either depending on my feeling at the time of listening to the album. For today, I will give it only three stars simply because I don't feel Devin has given us anything really new. For someone who really has tried to stretch out and create his own distinct concoctions of music, this album is in a way an easy approach for him to follow.

Incidentally, the Japanese edition comes with three additional demo tracks, and I was very tempted to pay the extra 1,000 yen to get them. I really wanted to hear the song called "Sophie's Boobies". But economy and reason got the better of me and I just bought the regular double-disc edition.

DEVIN TOWNSEND Ocean Machine: Biomech

Album · 1997 · Progressive Metal
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"Ocean Machine: Biomech" was Devin Townsend's first real solo album, even though the band project was initially named Ocean Machine. Prior to that, he had done the Punky Brewster farcical album about a death metal band that turns pop punk and had found some decent degree of success with his extreme metal / industrial metal band Strapping Young Lad. SYL's second album was in response to the Devin's experience with the music industry, or as he might have put it, a big middle finger to the music business. The rage, the frustration, the unbridled and unrestrained angst, not to mention uncensored, ironically made Strapping Young Lad's album "City" a big hit in certain circles and is still considered by many to be the best of the five SYL albums.

Devin Townsend, however, had another side to his music. He was interested in melody, in ambiance, and in music with depth. While writing "City" he also produced several other songs that, although employing heavily distorted guitars and his trademark powerful, ragged edged vocals, was too soft for "City". Some of these songs had actually originated years before when he was still undiscovered by Steve Vai and recording with his Noisescapes project. This other side of Devin came out as the Ocean Machine project, later renamed simply Devin Townsend while the Ocean Machine moniker became part of the album title.

The music on this album gives us a great indication of where Devin's career would go in the future. Sounds and styles from the Devin Townsend Band and the Devin Townsend Project are already apparent here as well as his interest in ambient music. The guitars are richly distorted and layered, there are synthesizers with an atmospheric bend also layered, and Devin's distinct vocals both harsh and soft layered in as well. Music styles range from the melodic industrial metal of "Night" to the radio pop friendly chorus of "Life" (sounds like a potential hit) to the ambient style of "The Death of Music" to the heavy riffing of "Regulator" to the heavy but atmospheric and melodic sounds of "Funeral". There's a wonderful church chorus part, sparse and beautiful, at the end of "Voices in the Fan", too.

While still on the loud and heavy side, "Ocean Machine: Biomech" doesn't hit with the machine gun intensity of Strapping Young Lad's "City" but instead seems very aptly named as the music sometimes feels like the surface of an ocean, fluid and gently shifting with swells of loudness and sound building, rising, cresting, and falling. In "Funeral" we even hear seagulls as if to enhance the oceanic atmosphere of much of the album.

This is not an album of apparent technical virtuosity. There is little if anything that comes across as tight and complex as one finds on albums like "Synchresta" by DTB or "Deconstruction" by DTP. Some parts are heavier and intense, some parts sparse and melodic, but always the undulating waves of a distortion-filled sea are never far away. In a way this sounds like relaxation music for someone who still wants to be loud.

A final observation, "The Death of Music" includes some spoken dialogue in the background in parts that are from a trip Devin made to Japan. We can hear him getting directions from a woman speaking with clear but accented English and Devin responding with , "Thank you very much" and then later hear him describing a driving range on the top of a building or the pedestrian crossing melody for the blind which plays to the tune of "When a Buddy Sees a Buddy Coming through the Rye". As the track fades he comments on a sign for Fukuoka City, reading it as "Fuk U, OK, eh?" A small detail but as I live in Japan, it caught my attention. The album concludes after the slow album closer "Thing Beyond Things" with Devin providing a full on scream as if to remind us that the furious rage of "City" is not far behind it all.

Fans of non-complex ambient metal or melodic industrial metal or even just fans of Devin Townsend will find this a decent album to add to their collections. My personal preference is for some of Devin's later albums, but recently I found that I enjoy this album more than I did a year ago when I first purchased it.


Album · 2001 · Progressive Metal
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If the ratings on Prog Archives are any indication, then 'Terria' is the apex of Devin Townsend's solo career efforts before he went and formed a proper band, Devin Townsend Band, for his song-writing efforts outside of Strapping Young Lad. Disregarding the Punky Brewster band project of the mid-nineties, 'Terria' is his fourth solo album and it follows one of his most critically spurned albums, 'Physicist'. However, while 'Physicist' was for the most part a very thrash-based, aggressive album that suffered from a production that even the supporting band (the Strapping Young Lad dudes) disliked, 'Terria' delivers a greater diversity of sound in a warm, well-produced sonic atmosphere. It is as though the fruit went a bit sour with 'Physicist' but has reached perfect maturity here.

Typical of many of Devin Townsend's pre-Devin Townsend Project solo albums, 'Terria' integrates a variety of styles and influences. The opening track 'Olives' is very much post-metal / experimental with a spoken dialogue slowed down, sound effects, and a musical theme that takes time to build to a powerhouse of simple heavy chords. 'Mountain' begins with an intense pounding of heavy music with Devin singing in his softer, higher register. But the music then goes of exploring in a non-aggressive vein with a melody of 'whoa-whoa' before returning to the thunder of the beginning with a trademark scream. It's interesting to point out at this time that the guitar sound is not Devin's usual rich distortion tones but a simpler sound more like seventies proto- metal. If you are familiar with Captain Beyond's debut album then that is more like the guitar sound you will find here just with more bass backing it. It strikes me as having a very earthy feel to it, and in the song 'Canada', which almost has a slow and heavy country vibe to it, the guitar sound really suits the music. Of course, there are other songs and moments with really loud guitar distortion and production.

Other styles to be found on 'Terria' include the unusual (for Devin) simple but classically influenced guitar solo in 'Deep Peace'; an 80's power ballad-styled number with 'Nobody's Here' which comes complete with an emotive guitar solo; an 80's hair-band song with 'Stagnant' that sounds like it could have been the closing track on an album by Cinderella or London Quireboys; and the pretty instrumental number 'Down and Under', which begins with some acoustic strumming and gradually moves to a heavier theme but not without returning to its upbeat sound at the conclusion.

For a Devin Townsend album (or Strapping Young Lad for that matter), 'Terria' includes an unusual amount of guitar soloing. According to the article on Wikipedia, Devin doesn't like shredding and only includes a guitar solo is he feels it can work within the musical framework of a song. Thus it is possible to find few if any proper guitar solos on many of his albums. Yet 'Terria' includes solos on five tracks, and Devin proves that he is capable of soloing in different styles that do indeed suit the music. In fact, listening to 'Accelerated Evolution', 'Deconstruction', and Strapping Young Lad's 'The New Black', Devin proves that he has worked very hard to be able to pull off some excellent guitar solos. But again, typical of him, he only employs any of his particular skills when he feels it belongs in a song or instrumental piece.

No early Devin Townsend album would be complete without nature sounds, radio broadcasts, background music, and other sonic decor. We can hear a Chinese radio broadcast at the conclusion of 'Mountain', a French-Canadian radio broadcast at the end of 'Canada' and also in 'Canada', a curious slowed-down recording of the beginning of a story about a bird in a nest. This recording was included at normal speed and in a longer version at the end of the 'Detox' '96 demo, which appeared as a bonus track on the reissue of Strapping Young Lad's 'City'. I have read that this is actually a recording of a story written and read out by a very young Devin Townsend.

There are two additional points to mention about the music here. The first is the curious and for me disappointing conclusion to 'The Fluke'. The song begins almost in a pop punk / 90's radio rock style which veers more into a progressive metal direction. Then the guitar and band abruptly get cancelled and some ambient / experimental keyboard sounds take over for a moment. This gets supplanted by some quick notes that play like a seventies electronic album, and this in turn drops out to be replaced by a low pulsing tone. Static fades in over the low tone and a clean guitar sound over the static brings us to the end and leads us into the next track, 'Nobody's Here'. The other bizarre track is the hidden one at the end, 'Humble' which begins very promisingly with some strummed guitar backed by bass guitar and string synthesizer. It sounds like the makings of a demo, the early framework of a song. The music attempts to move in a new direction, there's a mistake, someone laughs, the recording breaks to silence for a second, and returns. The song is abandoned for another take but then a backwards recording runs on repeat until the end of the track. This lasts for about three minutes, and at one point some water drop sounds come in. Weird.

I gave the Devin Townsend Band's 'Synchestra' four and a half stars and at first I was sure that I would give this album four, in spite of it being Devin's most highly rated album on Prog Archives. However, with each subsequent listen, the album grew on me more. I now feel it makes for a very good companion album to 'Synchestra', namely because the albums both sound very earthy to me though different in guitar sound and overall musical approach. Still, they share a commonality in that they both feature some simple heavy music in a progressive vein and some more complex music at times. The vocals cover nearly all of Devin's diverse range of ability and the music styles also spread out. In fact, if these two albums share any direct bond it can be found in a riff in 'Earth Day' which sounds very similar to a riff that surfaces in 'Baby Song' on 'Synchestra'. In style alone, 'Synchestra' makes for a good logical successor to 'Terria' even though there is a five-year gap between the two that is filled with Devin's first ambient / experimental album 'Devlab', the Devin Townsend Band's first album 'Accelerated Evolution', and two Strapping Young Lad albums!

If you are interested in progressive metal that includes traditional metal, hair metal, experimental and post metal, with a bit of aggro-metal thrown in, topped off with a twinge of heavy country on 'Terria' and world music on 'Synchestra' then I recommend buying both of these albums together.


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Insane and calm artist.


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