The Wire 465 features an in-depth interview with Canadian musician Devin Townsend whose career has evolved from the excoriating metal of his now defunct band Strapping Young Lad to the oceanic rock, ambient and noise of his solo oeuvre. Townsend's forthcoming new album Lightwork was produced in collaboration with Garth 'GGGarth' Richardson (Rage Against The Machine/Melvins/Rise Against) and according to The Wire's Joseph Stannard "has more in common with Lucrecia Dalt’s ¡Ay! and Björk’s Fossora than anything in rock or metal. It’s song based but teeming with ticklish detail and delightful texture."

Vancouver based musician and producer Will Ballantyne – who releases music as City and Anti-God Hand, and co-runs the Éditions Appærent label – contributed his impressions to the feature: “Everyone has their moments of darkness and their moments of bright light. Devin’s music has always captured both of those so beautifully and honestly.”

Here, Ballantyne presents an annotated playlist that serves as an introduction to Townsend’s sizeable and varied discography. “It’s easier to choose Townsend’s 15 best albums than his 15 best songs,” says Ballantyne. “There’s so much I overlooked – three entire records of the Strapping Young Lad discography; numerous cuts from Devin Townsend Project albums; 2000’s oft-maligned but still incredible Physicist; 2014’s wonderful country rock album Casualties Of Cool; and 2021’s The Puzzle and Snuggles, which really should be taken as whole, unified pieces. If any single track on this playlist sticks out, you owe it to yourself to dive into the album it’s from, then the two albums preceding and following that album, and so on and so forth. Townsend has generated a huge body of music that truly has something for everyone.”

Strapping Young Lad
“Oh My Fucking God”
From City (1997)

This track is emblematic of the Strapping Young Lad sound: unrelentingly dense, dark and claustrophobic. You can also hear one of my favourite Gene Hoglan fills at 0:30 – thanks to drummers extraordinaire Max Klebanoff (Tomb Mold) and Maxwell Patterson (io) for both responding almost instantly to my inquisitive messages to explain how Hoglan does this (two identical ride cymbals, one on each side of his kit). You can also hear some early theatrical work in Townsend’s vocals – the evil sounding “la la la la” near the end, not to mention the general Tasmanian Devil affect throughout.

Strapping Young Lad
“Detox”
From City (1997)

It’s a rule of thumb that any incredible Townsend or SYL track is immediately followed by another equally good track. “Detox” sticks in my head for the addictive gang vocal refrain, as well as the absolutely blistering right hand guitar work. Together, “Oh My Fucking God” and “Detox” are an excellent example of Townsend’s tendency to crank the intensity up to 11, then slowly work backwards until the song hits a sweet spot between live fire drill and fighter jet taking off.

Devin Townsend
“Life”
From Ocean Machine: Biomech (1997)

After the last two tracks, this should induce whiplash for anyone who hasn’t dug into the various sides of Townsend’s discography. Ocean Machine: Biomech came out the same year as City, which is astonishing simply for the sheer amount of work that must have taken, not to mention the depth and breadth of musical variation. “Life” is the beginning of Townsend’s exploration of ecstatic, almost liturgical lyrical themes, capped off by a stadium sized chorus, memorable guitar riffs and soaring vocals.

Devin Townsend
“Funeral”
From Ocean Machine: Biomech (1997)

Written about a childhood friend who was murdered in a random robbery, “Funeral” is the partner song to “Life”. I think this is the first track on the playlist that includes Townsend’s trademark pitched screaming vocal technique – something he says he has little technical training in (I recall watching an interview with him when, upon being asked how he manages such impressive feats with his vocals, he said “I just scream until I taste blood”). The flow of songs from “Funeral” into “Bastard” into “Death Of Music” on Ocean Machine: Biomech is a truly exhilarating 30 minutes of music.

The Devin Townsend Band
“Deadhead”
From Accelerated Evolution (2003)

Both “Deadhead” and “Kingdom” have enjoyed second acts on YouTube where classically trained opera singers have filmed themselves reacting to the songs. Corny as they can be, they’re actually great videos, especially for those without vocal experience, who might otherwise not appreciate how impressive it is that Townsend is hitting these notes.

Strapping Young Lad
“Almost Again”
From The New Black (2006)

This was the track that first brought me into the Devin Townsend/Strapping Young Lad extended universe. What actually caught my ear for the first time was the sub-bass blast that’s mixed into the chorus and the way new percussive lines keep creeping in, building up to a clattering overload that would be simply too much in anybody else’s hands. The way the vocals crescendo and everything unites into that absolute brick wall blastbeat chorus sealed the deal.

Strapping Young Lad
“The New Black”
From The New Black (2006)

A top-tier metal track. The last part of an album closing trilogy with “Almost Again” and the short “Polyphony”, this track also features my favourite example of the Gene Hoglan double-ride flourish at 4:36. A dramatic conclusion to Strapping Young Lad’s final album.

Devin Townsend
“By Your Command”
From Ziltoid The Omniscient (2007)

This is the first track on the list where Townsend’s humour is over the top obvious; the “Fetid!” bit of dialogue in the mid section still makes me guffaw after who knows how many listens. It’s testament to Townsend’s talent that he can shape a concept album about an alien warlord attacking Earth in revenge for being served a subpar cup of coffee into a progressive metal masterpiece. For my money this ostensible joke album contains some of Townsend’s most moving music.

Devin Townsend
“Hyperdrive!”
From Ziltoid The Omniscient (2007)

Another Ziltoid track. There’s a re-recorded version with vocals by Anneke van Giersbergen on Devin Townsend Project’s 2009 album Addicted that’s also worth your time. The main guitar riff is one of my favourites throughout Townsend’s entire catalogue – touchingly melancholic and propulsive – and the floating earworm vocal “So cold/In the night/Hold on” is magical. Ziltoid is absolutely worth checking out in full. It’s a delicate and beautiful exploration of trauma and vulnerability, in spite of the goofy comic book conceit.

Devin Townsend Project
“Supercrush!”
From Addicted (2009)

This is from the second of the Devin Townsend Project albums and features Anneke van Giersbergen on split lead vocal duties. File this one under uplifting, heavy, celestial, etc. It’s a wild tour through Townsend’s vocal range and also a great example of his introspective, self-help tinged lyrics: “I don't want to lose control/So even if it takes our lifetime to learn/I'll learn/We all learn”.

Devin Townsend
“Kingdom”
From Epicloud (2012)

I really recommend some of the YouTube reaction videos to this one. It’s a challenge to adequately describe the pure dopamine rush of 2:10–2:32 where Townsend’s vocals build in pitch and intensity to the final “I’m fine” before transitioning into the chorus where he pleads “Stay with me” over driving percussion (eighth note kicks and a quarter note crash) and heaven’s choir backing vocals. This is a great example of a recurring trope in Townsend’s discography, misleading the listener with vocal and timbral aggression before the whole band coheres into something that’s both harmonically and lyrically uplifting.

Devin Townsend Project
“Higher (Live)”
From Ocean Machine: Live at the Ancient Roman Theatre Plovdiv (2016)

A nine minute version of the bait and switch I mentioned with regard to “Kingdom”. This live version sounds absolutely killer with a whole orchestra and choir, beginning with the haunting refrain of “And you, broken” before growing into some truly barbaric progressive metal riffs. But the payoff for me is where Townsend says “Every time you turn on the news it makes you think the world’s going to shit. Don’t believe it, my friends. Life is beautiful” before launching into a major key repeat of the intro theme with the entire band.

Devin Townsend
“Spirits Will Collide”
From Empath (2019)

I’ll defer to the YouTube comments on this one: C Fralick, two years ago: “This song has probably saved more lives than Devin knows”. That might sound corny, and the video – featuring CGI elephants playing timpanis and a giant gorilla bassist floating through space on a satellite – could reinforce that impression. But, as with many things Townsend does, it feels crass to judge this on the basis of cool or otherwise. “Receive the pain, but this isn't where this ends/Don't you forget that you are perfect/Don't you forget just who we are/We're strong enough”. Who doesn’t need to hear these words? Who doesn’t wish they could say them effortlessly?

Devin Townsend
“Why?”
From Empath (2019)

This might be a sharp left turn, even for Townsend. Though lyrically it tackles familiar themes of self-acceptance and actualisation, “Why?” is basically a showtune (barring a death growl and some double kick here and there). Nevertheless, utterly gorgeous.

Devin Townsend
“Singularity”
From Empath (2019)

2019’s Empath represented a creatively unchained version of Townsend, operating well beyond the limits of what might be expected from him at this stage in his career (though you’d be missing the point if you didn’t expect the unexpected by now). This track – coming in at 23 minutes – has it all, from a gentle folk refrain to demented Zappa-like excursions, from some truly brutal metal interludes to ripping solos from Steve Vai and Mike Keneally. “Singularity” sees Townsend once more singing a line that comes up in “Higher”: “I am I”. There’s a kind of recursive quality to Townsend’s music; the timbral palette is largely the same, the key is often C, the lyrical themes are reinterpreted and rewoven but all seem to say the same thing, which is ‘It gets better, you can get better, you’re in control of your destiny, fear is OK and expected, life is a beautiful and terrifying journey, love yourself and those around you and do your best’ (metal!). This repetition of themes and sounds contributes to a quasi-religious sense of focus; as though the entirety of Devin Townsend’s discography is dedicated to a single message that he is still in the process of conveying.

Read Joseph Stannard's interview with Devin Townsend in The Wire 465. Wire subscribers can also read the issue online via the digital library. Lightwork is released by InsideOut on 28 October.