THE DEVIN TOWNSEND BAND: SYNCHESTRA

All I can say is: Devin is a genius.

With Synchestra Devin is back to his natural style that is heavy metal. After the fiasco that was Devlab for me I really wanted him to make the sound that was heard on albums like Biomech, Terria and Accelerated Evolution. I daresay he does that and more!

The album explores both these styles previously performed in other albums as presents nuances of the artist's future. Man unfolds in various processes of creation and composition, but there are other highlights: I should mention the extensive use of the piano in some passages, the battery monstrous Ryan van Poederooyen, soil unusual (though at the same time typical) Steve vai the third track, and the use of world music influences (Arabic singing, banjo, even polka!).

Let us start by Let It Roll. It should be the most strange opener for a Devy album after Olives (from Terria). But this is exactly the opposite: calm, peaceful, quiet voice of Devy backed by an acoustic guitar until it gets heavy after two minutes, but not too hard - it creates a bridge with the next song, Hypergeek, an instrumental whose first minute is marked by a climate folk, besides early on we hear the croaking of a toad and the crowing of a cock . So everything, and you think, "Hey, it's over?". No! The music explodes in fury and double pedals and so continues to make the connection with the first song "real" of album, the perfect Triumph. The banjo and Vai's solo are here. But the music goes beyond that, guided by an Townsend's impressive piece of a vocal performance (no less than he usually does - I think this guy has already become one of my favorite singers of all time). Enough Babysong, as captivating as the previous ones, especially in its diverse and powerful instrumental section!

And if you think things can not get any weirder, so if vai surpreeender with Vampolka. This instrumental than a minute and a half is driven by guitar and organ, but the title already gives an idea of ​​what it is. It connects perfectly to the Rogue, the single from the album. Three minutes bleak lyrics (and a clip satanic), and I'm impressed! (not through the clip, however). "GO!! HEY, HEY! ". Unlike the latter, is Mental Tan, another quiet and ethereal interlude, which contributes to the climate of the album perfectly. Gaia follows another heavy piece and Terria-esque, whose battery at the beginning makes me think as if it was a heavy version of Genesis' The Waiting Room (I know, it's a crazy thought and half gibberish, but that's okay).

Unfortunately here the album loses its focus. Devy is abusing the screams and growls, and the next two tracks, the 8-minute epic Pixillate (whose only plus point is the Arabic corner and the fretless bass a la King Crimson) and Judgement lead the album down a bit. A Simple Lullaby is a semi-instrumental (a few vocalizations here and there) that overcomes the predecessors but still not equal to the first part of the album, and Sunset is another good interlude that rescues some themes previously performed in other songs, and connecting to explosive Notes from Africa, another powerful song! - But it has the defect of wasting two minutes of rain effects and stuff (what does that have to do with Africa?). There is one last track, the bonus Sunshine and Happiness, which I think is a heavy version of something the Queen would have done (another crazy thought) and that really does not fail to offer such "joy" of the title - which comes to me both give headache. Still, it's a guilty pleasure.

A close call I had lost confidence in the skills and creativity of Mr. Townsend, but he regained my confidence with this wonderful (albeit not perfect) work called Synchestra. More!

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