Location: Vancouver, Canada
Genre: Progressive Metal
Released: September 9, 2016
Format Reviewed: FLAC
By: Kris Kotlarik
“I really wanted to knock (Transcendence) out of the park in terms of, this is what I’m trying to do with DTP. It may not be as vital as Ocean Machine, because that’s not where my mind is at, but all those things that make it what it is are in place now. I was able, through a real conscious decision, to exercise and go do a bunch of things that are outside of my comfort zone. I was able to really get some great material, emotionally, to draw from. And the whole record, Transcendence, is about getting over it and moving past it. It’s still there. It’s great. But dude, what are you going to write about next? I’ve exhausted the whole alien-coffee-drinking-puppet angle.”
-Devin Townsend in an interview with Greg Hasbrouck, found in the ProgPower USA XVII festival magazine.
First of all, let me begin this review by saying that if you live in the US and did not see the greatness and/or hilarity that was Devin’s performance at ProgPower with Anneke van Giersbergen, you missed out. But you can look at some behind the scenes shenanigans thanks to the tour’s daily mini-documentaries.
I’ve been out of the album review scene for a few months while working on other stuff (read: actual work, unfortunately), but reviewing Devin’s music as an unabashed yet objective fanboy is something that I can always get out of bed for. I’ve been listening to the album in some capacity or another frequently for the last two weeks, and now that I have officially received the CD and put it in FLAC (and listened to it another six times), I think it’s time to break this thing down properly.
The super-short version of this review would be to say that Transcendence is an amalgamation of Epicloud and Sky Blue that results in a marked upgrade over both albums. The former has this bombastic element to it but occasionally fizzles out (like on Divine, for example), while the latter is a solid effort with a melancholic atmosphere that hasn’t held up over dozens of listens as well as other Devin albums have. I think Transcendence has the right blend of bombast and dreamscape atmosphere to go along with a master-craft production across the board.
That blend is exemplified on “Stormbending,” a track that I haven’t been able to go more than a few hours without listening to since I first got it. With the winding instrumental that carries the girth of Emerson, Lake & Palmer, the delightful and soothing tones of Devin’s vocals on the verses, and his operatic vocals put on full display in the outro, I can say with full confidence that this would make the top twenty list of best Devin Townsend’s songs if it were drawn up today, an achievement that should not be taken lightly.
Not far behind that beautiful track in terms of quality is “Higher.” Clocking in at nearly 10 minutes, it essentially starts off as “Grace” before turning into Devin’s proggiest track since the release of Deconstruction. A walking, talking highlight reel in its entirety, some of the best parts include:
- The screamed “I, the destroyer!” section at about 4:15, as well as the directly contrasting “change direction” section starting at 4:55.
- The breakdown starting at 6:05 that leaves the entire track hanging in suspense before Devin comes in with a lyrical callback to “Fallout.”
- The instrumental section that comes in at 7:27 that sounds a bit like the end of the intro to “Love” by Strapping Young Lad. Am I the only person who hears it? Regardless, I love that sound.
And then there’s the chorus, where the drums and guitar get heavier with each progression. “Higher” is truly a stellar track for anyone that has the patience to invest ten minutes into a song (dozens of times).
The title track took a while to grow on me; it begins with a march beat and takes quite a while to build up with a male choir before Devin asks that poignant question: Who transcends this? Sung in an operatic voice slightly lower than the ending of “Stormbending,” the chorus is great, but that’s not what makes this song stand out; it’s the ending over the final 1:15 that is relentless and makes the prolonged buildup much more meaningful to me.
Anneke van Giersbergen is used much more sparingly in this album than she was on any of her previous three appearances with the Devin Townsend Project, as she is mostly relegated, albeit with great effect, to providing vocal fills and ambiance in songs like “Secret Sciences” and the ending to “Stars.” But she does get one song on lead vocals; “Offer Your Light” is the “Silent Militia” of the main disc. That could be a good thing or a bad thing depending on how you feel about cheese; whereas Silent Militia was kind a revamping of “You Spin Me Round (Like a Record)” by Dead Or Alive, Offer Your Light is more of a power metal number that, like Silent Militia, is extremely difficult to get out of my head. Anneke sounds excellent here, even with rather simplistic lyrics, but the production around her blends marvelously with her voice.
The final two tracks could be where the album falters for some people; they combine to take up 16:50 in length and nine of those minutes are ambient sections that close out each song. To top it off, one song is a cover and the other is essentially an 80’s ballad that borrows its structure from a Hindi meditation track by Krishna Das. And yet, both tracks still have some solid moments; the chorus and outro to “From The Heart” is sung in Hindi with a beautiful vocal line that is inescapable. What follows the prolonged final chorus is a luscious ambient jam that was apparently done in one take and is worth a few listens.
“Transdermal Celebration” is easily the least interesting track on the album, this in spite of the fact that I am quite partial to Ween. It’s a fun way to close off the main disc, but otherwise doesn’t do all that much for me. The best part of this track is the ambiance that comes after it, with Devin adding some soothing vocals and a small section of spoken words on top of it. Other tracks I’m not overly fond of include “Secret Sciences,” mainly because it takes too long to build up with only a modest payoff, and “Stars,” the ToonTrack demo that is gloriously poppy and is starting to grow on me, but has a limited ceiling. The distinction between “least interesting” and “most terrible” is important, as there are no bad tracks on this album, and many other fans have liked the aforementioned tracks. Tomato, potato, gazebo, am I right?
Much has been made about Devin’s decision to re-record Truth from Infinity and open Transcendence with it. While I would never have changed a thing from the original recording, the new version makes a lot of sense in the context of the album. The unrelenting grandeur of the “Hallelujah” section was replaced with more subtlety, but the overall production is airtight, and that new ending induces goosebumps. It was the first of several such moments, an effect that only a select few artists can achieve on me. Devin does it over and over again.
OVERALL: Perhaps the best DTP album to date in close competition with Addicted, as well as the best production from a Devin Townsend album since Ghost (or Casualties of Cool depending on whether you count the collaborative project with Che’ Aimee Dorval, who makes an appearance on the second disc, as a traditional Devin Townsend release).
Coming soon: a review of Holding Patterns, the second disc of this album.