by David Campbell
Canadian-born vocalist/instrumentalist DEVIN TOWNSEND is well-known within the annals of Progressive music these days. My first introduction to him came at the hands of guitarist Steve Vai in 1993, when he was approached by Vai’s record label to provide vocals on the album. Right away, I was struck not only with his range, but also his power and his ability to sing in a few different styles. The story has it that after recording and touring with Vai, he was discouraged by what he found in the music industry. So, he went back to Canada and formed his own bands called STRAPPING YOUNG LAD, releasing the critically acclaimed album “City” in 1997. He went on to release more music with his band, and then took a hiatus in 2007, returning a few years later with THE DEVIN TOWNSEND PROJECT. Releasing four albums with them, some with varied styles, Progressive Rock/Metal has always been in his bones. In 2017, he began to conceptualize this massive project called “The Moth.” Following an acoustic show in Amsterdam, Townsend was approached by the head of the North Netherlands’ Orchestra and Choir with an offer, and with that moment, “The Moth” stopped being an idea and began to become a reality.
It’s an ambitious undertaking, to say the least, and amounts to an orchestral project containing 24 songs. The story goes that he had to re-teach himself how to compose at that level, studying harmony and orchestration from scratch to properly write for orchestra rather than just layering synths or guitars. Thematically, the album revolves around transformation and self-acceptance, with the “moth” acting as the central metaphor: an animal drawn so completely to the light that it risks destruction, mirroring the human tendency to confront painful truths about ourselves. Unfortunately, I have already heard some negative buzzing about the album here and there, but I am not going to make up my mind until I have digested the album fully. One thing I have always learned with Devin is not to underestimate him. He seems to have an endless repertoire of music at his disposal, and long, deep pockets that he often packs with melodies for a rainy day. With all this in mind, let’s get to the music.
The album seems to unfold in stages, as do the stages of the life of a moth.
Stage One: The Awakening
The entering song, “Semi-prologue” sets the stage for the album, with Devin’s soothing vocals and some backing symphony with heavy tones that are prophetic at times. He clearly states, “it’s too late to run away,” and that it the invitation you need to step further into his world. “War Beyond Words” hints at the first conflict on the album. The drums and weighted guitar tones echo this sentiment, but as heavy as they are, Devin is also able to hold them in restraint at times. Turning the page quickly, the first utterances of harsh vocals are as dark as a black thundercloud. He is able to shift between these varying passages with transitions that are so smooth, you hardly notice. Like a theater of tragedy, every instrument and every note works like oil to the gears of his vision. “The moth” awakens and unfolds a new landscape for you to marvel at, and heavy brass swells like an ocean wave rising following a storm. Some of the songs on the album are short and built to make connections from one section of the album to the next. Effectively, they ensure that the story stays on the path and that questions are answered along the way.
Stage Two: A Clash of Power and Identity
“Enter the City” is like rounding the corner of your travels and encountering towering gold peaks of a city. They are so grand, you just stand there and marvel at them for hours, studying every intricate detail. Devin uses the ebb and flow of the music, including magnanimous crescendos, to immerse you in the direction that the album is headed. “Covered by Cause” is the first lengthy offering, and despite some thundering chaos in the first bar, it settles warmly. His versatility as a songwriter and performer are second to none. He can be as gentle as a lamb, or as angry as a lion. He trades vocals with a woman here in a tale of wonder, and the French horn notes are nothing short of majestic. Delivering the massive chorus that he does is nothing new to Devin. “Lexin” is probably the first jovial song on the album, and it’s one where you can put the story aside for a bit and just enjoy the song. It’s fun, catchy, and even a little quirky at times. In other words, signature Devin.
Onto some real conflict now, “Runaways” brings us back to the beginning of the album with the phrase, “it’s too late to run away,” and “A Proxy for God” bring wrath…fire and brimstone as one would find in the Old Testament of the Christian bible. “Orion” is a giant, handsome hunter in Greek mythology who was placed among the stars as a constellation. You get a sense of the gravity of Orion’s placement into the immortal heavens in the song, which flows freely from melodic hooks to heavier passages, and offers some other comic vocal effects. “Stay There” brings light back to the room once again, and you can hear true resolve in his vocals. He states emphatically, “I close my eyes, and I see your world through a different lens.” A Step towards greater understanding? “Home at Night” hears the grand tale continue, and Devin’s operatic vocals are exceptional here. Show me another artist who has his range, please. This tale will sweep you up in a tornado of sound that is harmless at times and downright angry at others. The key to these things working as well as they do is the timing of his segues and transitions.
Stage Three: Intermission
In true theatrical form, the “Intermission” is a five-minute bridge from the first half of the album to the second, as well as a point where you can hear the focus shift. It’s an instrumental that uses ambiance and space to raise your sense of awareness. I feel like a scene is unfolding of the canopy of stars on a clear summer night, and it serves as a reminder of the sheer vastness of the universe. You can’t help but stare upwards, and soak in what little piece that you can see with your naked eyes. It’s nothing short of pure wonder, and it primes you for the upcoming run of the songs that follow.
Stage Four: Reflection and Transformation
Following two shorter pieces in “Lexis Returns” and “The Clergy,” whose ominous tones seem to reflect someone struggling with the belief in a higher being, “Prepare for War” is a seminal song on the album. As expected from the title, it chronicles someone who feels the haste of an impending battle, as someone quickly and dexterously tries to gain the best position of strategy against the imposing force. The closing instrumental passage is foreboding to say the least. “The Big Snit” hears the ominous sound not only continue, but grow with each passing note. The orchestral elements have a massive footprint, and Devin’s vocals are incensed, as he screams at the top of his lungs. Seguing into “Silver Princess,” you can see the central transformation that defines the album…from a caterpillar to a beautiful moth, with markings that don’t seem to come from this world. The music plays right in line with the visual, supporting the metamorphosis literally and figuratively. Towards the end, it roars back, like cold winds blowing in from the North.
“Metamorphosis” is the culminating track, and the transition is complete now. Off he flies…in a sense of euphoric release. The music swells with feeling and with power, and the hairs stand up on the back of your neck. It’s like witnessing something that most people never get to see in their lives. “Stained Hearts” implies that someone still carries love or humanity, but it has been “stained” by destructive choices. This is the very heart of the album in many ways, and might seem like the natural end, with big hooks and sing-along melodies. But the tale has one more song, seemingly out-of-place song called “We Don’t Deserve Dogs.” The song makes Devin seem more human to me, and it’s so sweet. His vocals are warm, inviting, even soothing. Dogs are amazing creatures. We’ve all heard stories of how some of them travel hundreds of miles to reunite with owners, and how others have rescued their masters from sure death. Maybe they are to be revered?
In my research about the album, I read that Devin said the story of the album follows someone realizing their old patterns no longer serve them and they are forced into uncomfortable self-examination. It’s a painful transformation that many of us have to face in life, some not voluntarily. Think about it. How many of us are actually that self-aware? How many of us truly like the process of change?
Ambition is defined as a strong desire for achievement or success. In the context of this album, the term falls short of describing the undertaking and scope of creating a musical score so utterly complete. The music on the album…put simply…is stunning. It’s the kind of album that you have to set time aside to listen to in one sitting, so that you can hear the seamless transitions between movements and every little nuance along the way. With The Moth, Devin Townsend delivers a work of remarkable depth, scale, and imagination that few artists would even attempt, let alone execute with such conviction.
Order here: https://dvn.lnk.to/TheMoth
The full track-listing is as follows:
1. Semi-prologue
2. War Beyond Words
3. The Moth
4. Ode To My Eye
5. Enter The City
6. Covered By Causes
7. Lexin
8. Runaways
9. A Proxy For God
10. The Mothers
11. Orion
12. Stay There
13. Home At Night
14. Intermission
15. Lexin Returns
16. The Clergy
17. Prepare For War
18. The Big Snit
19. Silver Princess
20. A Life in Review
21. Metamorphosis
22. Stained Hearts
23. Let Go
24. We Don’t Deserve Dogs
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