DEVIN TOWNSEND

For all intensive purposes, this was my first Devin Townsend album, and what a delightful find it was.

I understand, as all newcomers to Devin Townsend should be warned, that this album by no means is an accurate representation of his usual work. It's poppy in places, sometimes downright trite, but there are spots in this album that absolutely floored me. I've always been one to stray to the accessible side of prog, so Townsend's mix of prog mentality, wall-of-sound- production, pop sensibility and metal heavines really makes this album a gem.

If you are new to Devin Townsend, this is a good place to start if you're looking for some uniquely flavored yet accessible pop-metal (which, for the record, I propose as a new PA sub- genre). If catchy hooks and sing-along choruses simply fail to tickle any part of your fancy, I would recommend that you begin elsewhere. A fantastic album nonetheless, one of my favorites of 2009.

And they greys float our memories, In the long haul...

This was my first and so far only Devin Townsend-experience and it's definitely an interesting ride from start to finish. The composition vary in quality and there are a few that I definitely could have done without. I'm not sure that I can say much about the concept of Ziltoid The Omniscient except that it's probably the weirdest story I've ever heard of. I do realize though that its a humorous concept which by no means should be taken seriously and the ending really makes me chuckle every time I hear it.

My biggest complaint about this release are the drum machines that I just don't consider to fit Townsend's sound although it was some of the better sounding drum machines that I've heard over the years. Ultimately its the composition quality that makes me settle for the good, but non-essential rating. Still I am definitely willing to hear more from Devin and it would especially be interesting to hear an album where the concept is matched by his great musical ability.

***** star songs: The Greys (4:15) Tall Latte (1:03)

**** star songs: ZTO (1:17) By Your Command (8:09) Solar Winds (9:46) Hyperdrive (3:47) Planet Smasher (5:45) Color Your World (9:44)

*** star songs: Ziltoidia Attaxx!!! (3:42) N9 (5:30) Omnidimensional Creator (0:48)

Another interesting change in direction (though not of iconic sound) takes this Devin Townsend release into somewhat bland and unchallenging territory, offering a set of loud, bombastic, heavy-handed songs which feel is like an attempt to make his sound more accessible... but this is Devin Townsend we're talking about-- so it's never that simple!

"Addicted" uses a huge, highly produced guitar sound grinding out a shattering wall of sound backed by very loud drums and effects blasting out dance-beats and rather empty- headed grooves. For the first half of the album we are bombarded by what is essentually the same crunchy sound to a repetative beat. His lyrics and vocals are fine, although this first half is all screaming (and I mean screaming), and the endless guitar chugging will probably test one's endurance more than get their mojo moving. Giersbergen's feminine vocals add a nice new element to the mix, mostly there to lend a pop feel to the tunes. There's nuance to many of the songs, but this is essentually Devin's iconic metal sound forced into a pair of trendy hip-hugger jeans; it doesn't quite fit, but somehow demands one's gaze.

The mighty "Supercrush!" stands out as an early highlight thanks to its good chorus, and "Addictided" turns a corner shortly thereafter (although the remix of "Hyperdrive" is a misfire-- if Dream Theater has shown us one thing, it's never but bits of other [better] albums into mediocre releases). Once we're finally given a chance to catch our breath with the mellow "Ih-Ah!" it feels like the songwriting picks up noticebly. Thoughtful, somewhat varied compositions follow with a greater depth in sound and vocals. These are the reason for getting "Addicted", it's just a shame we have to sit through the noisy lead-up.

"Addicted" is vastly unsatisfying compared to Devin's other releases; although it has some merit, most listener's will simply find the bombast of the songs boring. The "pop" aspects to this record are certainly tongue-in-cheek, so I don't take them too seriously, but I expect something memorable at least, and "Addicted" is just loud. Unless one is already of fan of Townsend-- it'd be best to avoid getting "Addicted".

Songwriting 2 Instrumental Performances 3 Lyrics/Vocals 2 Style/Emotion/Replay 2

This album is hard for me to put into words, which might be why I put off a review of it for so long. For me, this is THE Devin Townsend album, and hence one of my favorite albums ever. Devy has stated that his main goal with ZtO was to prove to himself that he could make an album that was truly a solo effort. He has also said that it helped lead up to the process of the Devin Townsend Project, which to date of this review is halfway there. It seems to be shaping up quite nice.

But I digress. On to the album!

This is a mix between Devin's solo material and the heaviness of Strapping Young Lad. Some may be put off a bit by the mechanical sound of the drum program, but I think it works for this music. It also happens to be the Drumkit from Hell program, created by Tomas Haake of Meshuggah. This also happens to be a concept album which tells the tale of Ziltoid seeking the greatest cup of coffee ever from quite a hilarious perspective. There are also several different moods throughout the album, from the long epic narratives of "By Your Command" and "Color Your World" to the short, catchy, pop-ish songs of "Ziltoidia Attaxx!!!" and "Hyperdrive". I really can't think of any song that is weak of the bunch, except maybe "Solar Winds" which bores me for the first 2 1/2 minutes or so, picks up a bit, then drops back down until 4 minutes when it builds again for good. The track feels somewhat inconsistent. I also think the vocals for "Hyperdrive" are cold and lack emotional power, and they ultimately make the song quite passable for me. I'm honestly glad Devy re-made a version of it for Addicted!, but I will discuss that in the respective review. This is definitely heavy music, and probably a bit too heavy for some, but for others it may be quite enjoyable. I'm glad to see, or rather hear, Devin draw more on some of his classical and Broadway influences for this album. I wish he would draw on them more often, because they really do lead to good things when he applies them in more than just structural ways. There's lots of ambience and maybe a touch of the humor from Punky Bruster too.

If you don't like Devin Townsend any, this isn't the album that will make you like him. But for those who already do, this is another fine musical gem for the man's collection. 5 stars.

Canadian artist Devin Townsend is a productive guy, with more albums to his name than the number of years he's been recording music. "Ki" is one of two releases from him in 2009.

And for a guy mostly associated with metal, this album is a rather surprising venture. Most of the songs are rather mellow and laid-back, with acoustic guitar just as if not more prominent than the electric. Distorted riffs are few and far bteween as well. In fact, in terms of style many of the songs here to a lesser or greater extent made me think of Chris Isaak.

Many of the songs do contain a brooding darkness though, often provided by some rather nifty synths, but also slightly distorted echoing bass and guitar sounds are used to good effect to create slightly disturbing atmospheres. And on a few select occasions, these moods evolve into brief, highly effective brutal-sounding metal parts invading the almost pastoral landscapes created.

It's a well made album, and while a progressive metal audience might havbe a hard time with this one those who appreciate sophisticated pop/rock and art pop might be a surprising, new audience for this artist. At least as far as this particular album goes.

Yeah, it's pop, but I suppose it's Devin Townsend so I'm allowed to enjoy it. =D

There was a sense of that when I first listened to this, but then I realized that this is just so much better than the rubbish pop that floats around the radio and settles like a grim fog over the general public's ears. Wow, I really am a snob.

Anyway, onto the tracks.

The first few tracks are fairly similar. Addicted is very heavy, with an incredibly strong beat and a simple riff. Universe in a Ball doesn't do much for me, but Bend It Like Bender is a lot more dynamic. If the whole album was like this it would only get 3 stars, but they improve later. What keeps these tracks interesting is their almost seamless flow. Addicted to Universe in a Ball is basically just a drum solo, retaining a lot of energy making the tracks a much more rewarding experience. They set the tone of the album very well.

Onto something with a bit more substance, though. Supercrush is awesome - one of Devin's best choruses. I assume this track was a bit of an odd track for the album. It's not particularly poppy, with a long instrumental section and a rather dynamic verse chorus structure, but it fits well. Reminds me of Numbered, later on, but this track is definitely in the top 3 on this album.

The new cover of Hyperdrive restores my faith in the female gender (in terms of singing, of course, I will forever have faith in them in every other way). This version is easily fresh enough, really lively, powerful, and oddly happy. The next track is a bit silly, but Resolve keeps the catch chorus way of doing things, with a cool intro to boot. Possibly my least favourite here, though.

In-Ah is the oddly named ballad, a very romantic piece with a fantastic riff. The choruses are particularly awesome, and it's a very subtle song - best played very loudly to pick out all the fine details, particularly the vocals at the start. In the top 3. The Way Home is a fast paced, reserved song, which shows us Devin's amazing vocal ability, whist referencing Deadhead (I believe). Guitars are pretty cool here too. It's a very odd song - with a great little instrumental section, retaining the same style beat. It's not one of the best, though.

Numbered has very satisfying guitars and vocals throughout. There's a brilliant arpeggio section in the middle which reminds me of parts of Ziltoid. This one's not really poppy either, just heavy, really. I suppose the female vocals stand out a lot more here. The end just leaves them going, which is great. I think the last track is a hidden track, and it has to be one of my favourite Devin Townsend songs yet. The length is misleading, the song kinda peters out into ambiance, which is quite nice. Really, the focus is on vocals, and the crushing guitar, which is a fantastic riff as well as other chorus parts and a heavy, growly bit. It keeps the pop-esque keyboards and some of the stronger beats from the pop element of the album. Devin also displays his fantastic vocal range here, as well, as a tenor opera singer, screaming "I'm free!!!" in the verses, and then going into a twisted growl for the heavier sections. There's even a reference to the next one in the set - "Deconstruct!" is given a good few growls at the end. Is this an overture to Deconstruction? It would be a great one.

So overall, best ones are Awake, In-Ah and Supercrush. You'd be misled if you thought it was all pop, but even when it is, a narrow minded prog fan can still enjoy it, so take a dive, and grin and bear some electronic drums.

But no, it doesn't really go "Unst, Unst, Unst". Thank God.

Earlier this year, one of my favourite artists and musicians Devin Townsend released an album that was generally thought to be pleasant, but alienated alot of the man's existing fanbase. While I personally have nothing against 'Ki' and openly welcomed his change of pace, alot of people will be happy to know that Townsend is back to a more familiar trademark sound on this one, but with a twist...

The second addition to Devin's new drug-free project is chock full of nuances and sounds that will conjure up thoughts of previous works like 'Ocean Machine' or even some of the more melodic material from his metal flagship band Strapping Young Lad...

The twist is that it actually manages to incorperate dance music elements into progressive metal. With that in mind, it's suprising the album actually works as a whole. 'Addicted' has a very big emphasis on catchiness and hooky melodies; this works as a double-edged sword both for and against the album. On one hand, 'Addicted' is undoubtedly one of the most 'fun' and instantly gratifying albums I own. In other words, it would be the perfect soundtrack for a party.

On the other hand, the fact that 'Addicted' gives everything it has in the first few listens really takes its toll on the lasting appeal. Sure, there is the vast multi-tracking 'wall of sound' that gives alot of sonic depth to the music, but emotionally, the impact compared to 'Terria' for example is almost negligible. There are some great beauty moments here however, from the stunning chorus of 'Numbered!' to the powerful 'Supercrush!'

The choice to have Annekke Van Giersbergen as a vocalist on this album was a great one. She has the perfect voice to compliment the melodies that Devin has crafted here, and while much of her role on this album is dedicated to soft beauty moments or peppy pop choruses, she pulls off a stunning performance in the new rendition of the song 'Hyperdrive!' which some will instantly recognize as a track originally from 'Ziltoid The Omniscient.'

With yet another album under his belt, Devin Townsend shows us that he isn't willing to become a one-track gimmick. From the intelligence and introspective mood on 'Ki' and now the overly peppy and dance metal tunes of 'Addicted,' one can only guess what the next album will bring to our ears.

The first notes of this albums opener Coast(after a track of some guitar plucking and strumming) really appealed to me instantly. Unlike most Devin Townsend productions there weren't a hundred guitars and layers upon layers of sound, a very clean sound with tons of space in the mix had taken its place. This alone made me initially very positive to "Ki", I thought it might be a major turning point in Townsend's already remarkably widespread career.

I have never cared much for the music of Townsend which to me either seemed to full of it self, too preachy or downright overworked. But with "Ki" he is taking a step away from all of this and starts moving towards something that might even attract people who've previously overlooked(even disliked) Townsend.

The sound is somewhere in between grunge, stoner-metal and of course Devin Townsend. His sound is something well worth mentioning, and a reason for people unfamiliar with his work to at least grab one of his records for a taste of. It is very unique and unmistakable, even with all the clones crawling around. In my book this is what makes a band great and in that sense Devin Townsend deserves all the praise and respect he has in the industry.

The problem for me with this album is in the complete lack of diversity. "Ki" follows a very slim line all the way through, never straying too far from its inherent sound, this makes it either repetitive or meditative, depending on who you are and how you feel about Townsend and his sound. In my case I thought it became repetitive and ultimately boring after a few listens, and I rarely listen to it now just a few months after release.

A good album for fans of the Devin Townsend sound.

3/5

This album is a shrinker.

The first time through it, I was pretty impressed with it. I don't usually appreciate most of the 'cliched' metal-isms that a lot of metal music has, but what I've heard of Devin Townsend has usually sounded great to my ears (although I'm still just scratching the surface of his releases), so I figured I'd give his new project a try.

I found myself really digging a lot of the songs on the first listen, including Gato, Heaven Send, and Ki. But upon repeated listens, I find this album growing old quicker than I had expected. As well, certain songs seem to follow similar formulas, but in a really obvious way that reduces their value. An example would be Gato and Heaven Send. Each feature a strong chorus that works well because of the interesting dynamics between female vocals and Devin's death-metally growls. Yet, each song sounds almost the exact same. Perhaps I am just too used to complex songs for simpler songs to grab me the same as they used to, but I almost can't tell these songs apart other than the chorus.

A friend of mine recommended listening to this album with Disruptr, Gato, Heaven Send, and Trainfire removed. I gave it a shot, and found that it did change the album a lot. He described it as "a much cooler, chill out album with less 'heavy-because-this-is-devin-townsend' songs", and I have to agree with his prognosis.

Overall, this is a fun album, if it does get old a bit fast for my liking. The strongest track, in my eyes, is 'Ki', which for some reason reminds me of "The Circle of Life" off of the Lion King. (Everyone I've mentioned that too thinks I'm crazy, but I still like the song). Overall, though, I'd give this album two stars - it just doesn't have enough to warrant many repeated listens, or enough songs that will remain valuable outside of the album context.

"Ki" was one of the biggest surprises of my musical life...

This change of direction of one of my most admired and respected musicians, shooked me strongly... Could this album really had been made by the same man who did masterpieces like "Terria" or "Synchestra", and the same who rocked me out to hell with the powerful Strapping Yound Land releases? I could not believe it...

But after a pair of listenings, I realised that the style of the man was still fully noticeable, but just a bit diminished between the minimalistic and incredibly beautiful guitar solos, behind the new acoustic directions of songs like the fantastic Lady Helen and Terminal, and of course, in the stronger acts like the odd Disrupter, the curious and dark Gato, the rythmic and hypnotic Heaven Send... And the title track, with some guitars and choirs wich brings Ziltoid back to my mind!

Like almost every Townsend effort, we also have new experiments never heard before in his discography, but still completely coherent with his style... If Bad Devil was his reinterpretation of cabaret music, Trainfire is his tribute to the rockabilly style, where he makes a incredible Elvis imitation, building of the most funny and surprising tracks of "Ki", specially its peaceful and dreamy ending... Other experiments like the poppy Quiet Riot don't work so well, while others, like the jazz interlude "Ain't Never Gonna Win..." make us feel that this man has played this kind of music his whole life.

So this bunch of new, old, and unexpected elements make "Ki" the most surprising and diverse Devin Townsend album... And talking about a career so variated and variated, saying this is really much.

Best tracks: except some dull moments like Winter and Quiet Riot, this album has a incredible quality... I specially enjoy Heaven Send, wich is maybe the most catchy Dein Townsend tracks since Earth Day, the precious guitars of Lady Helen, the obscurity of Disrupter and Gato, the funny Trainfire, and Ki, the track wich has the most classic Devin Townsend sound.

Conclusion: different, original, beaufitul, and authentic... "Ki" is another step further of the most incredible prog-metal mind in actual music. An album wich sounds more organic that anything that Townsend did before, having also his best guitar work to date, great vocals, and a lot of memorable tracks. It's a pity that some sections of the albums don't work so well like the rest. This is the fact because I'm not giving this album five stars... Nevertheless, I strongly recommend "Ki" to every prog-lover. Even if you can't hear the previous Devin Townsend albums, or if you don't like metal... Because "Ki" is just different of anything you've heard before.

My rating: ****1/2