Devan Plays the Drums (Nobody Sounds Like You Book 1)

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In fact, up until a few months ago, he was a writer and arts editor for the [images of magazine covers of Todd: I-I admit, I'm a little intimidated. If he saw this, he could not only correct the numerous factual errors I'm about to make, he could also tell me why my analysis sucks and he could do it better. Todd: [holding up said book] I'm learning so much about Joni Mitchell! Anyway, they released their first album in And out of nowhere in '98, their first single gets really big.

Todd: "Flagpole Sitta" is an obvious smash hit from its opening notes. It sounded immense right away. That smashing drum intro, and then that weird hook where the riff is being played on distorted bass instead of lead guitar. Todd: This song has hooks for days. Sean: I'm not Todd: It has the greatest backing vocals Video for Todd VO Just "Bah! Todd: What's a flagpole sitta? Clip of people Todd VO : Flagpole sitting was a weird and stupid fad from the 's, where college boys would climb up to the top of flagpoles and see how long they could stay there.

It was the Tide Pod challenge of a hundred years ago. It has nothing to do with this song. Todd: The word "flagpole" is used once. Clip of "Flagpole Sitta" Sean: Fingertips have memories Mine can't forget the curves of your body And when I feel a bit naughty I run it up the flagpole and see Who salutes, but no one ever does Todd: [beat] I literally just realized that line's about masturbating. His fingertips feel naughty, they run up the flagpole. Twenty years, and I never got that. Todd: [sarcastically] Yeah, sit on my flagpole, baby. Yeah, no shit no one salutes that.

Todd VO : So, if it's not about flagpoles, what is it? Well, you gotta understand that it was It's so that there's a [various clips of "Flagpole Sitta" with arrow pointing at It is of its time. Todd: So with that in mind, let's talk about irony. Or even the Alanis Morissette misunderstanding of that concept. Todd: Now it wasn't actually irony either. And that may or may not be ironic in itself. Actually, it's hard to say what it was.

Clips of South Park Todd VO : Mostly it was just a style of communicating where you undercut everything you say so that no one could tell what you actually mean. Teen 2: I don't even know anymore. Todd: And that indirect "not really meaning anything Todd: Saying something, and then immediately contradicting it. Meredith Brooks: I'm a child, I'm a mother And the youth of America felt it really deeply. And you feel Kurt's frustration at everything, maybe even at his own inability to articulate what he means.

Todd: Oh, well! Never mind! By '98, alternative rock wasn't the alternative to anything anymore. Crippling angst was out of the mainstream, and a lot of it sucked. There was no more illusion of profundity Todd VO : The title is a joke. The lyrics are all jokes.

Sean: Hear the voices in my head I swear to God it sounds like they're snoring A really clever joke to be clear. It's no surprise to me that Sean Nelson became a writer, 'cause there's a lot of words in this song. It's very literate, a lot of clever turns of phrase. Todd: It's like a snotty '90s [image of And that snark is just directed everywhere.

At the world Sean: That only stupid people are breeding Todd Sean: The rottenness and evil in me Todd Sean: I wanna publish 'zines And rage against machines Todd VO : Like, yes, we're all still angry and upset and fucked up. But we can't even take that seriously anymore. Todd: And I love this song, I really do. I've always been a tiny bit uncomfortable with it. Todd VO : It's like irony on top of irony.

There's a real sense of sarcasm poisoning to it. Todd: [sarcastically] Flagpole sitta, yo! Wanna tell how much you love Fight Club next? Like, who could take this kind of music seriously anymore? You can't pretend this shit is still deep and meaningful. Steve Harwell: And their kids were hippie chicks or hypocrites Todd: And you can tell, Nelson is super not thrilled to be compared [brief clip of "Walkin' on the Sun"] to Smash Mouth.

But he's also like Todd: And "Flagpole Sitta" is very self-aware of that fact. Todd: Again, it's like a parody of Nirvana. For all they knew, this could have been the last video they ever made, and in it they chose to depict themselves as a band of no clique, no crowd, and no constituency. The failed follow-up Video for Got a cool, Pixies-esque bass line Todd: Like, it's kind of a love song where he imagines himself in various situations with his ex-girlfriend when they're completely alone, like Or they can just be honest without anyone looking at them. Like, this isn't "Flagpole Sitta"; it's supposed to be a sincere song about wanting to put the past aside, and rekindle that old flame.

Todd: But the band still Almost seems like he's insulting her somehow. It's not exactly a romantic chorus. Sean: I'm on a hovercraft to Paris with Well, I don't know, good luck to those two. I assume they're gonna get back together if they're taking private helicopter tours. Todd VO : For what it's worth, this was not the single they wanted to release as their follow-up. Todd: They wanted to release this one, "Carlotta Valdez. I didn't get it Hotel Manager Ellen Corby : Yeah, that's it. Todd VO : Oh. Pffft, it's from Vertigo.

He's singing the plot from the Hitchcock movie, Vertigo. Todd: [bumps head] D'oy! Almost all of the anger of the album centers here. Gene Hoglan finally breaks out some intense drumming, especially in the pre-chorus. Of note to some is the use of obscenity in this song, which is markedly similar to that seen in Devin's other major band, Strapping Young Lad. Do not get me wrong, though. The harmonies again are well oriented to the song. The album takes a dive in mood after the conclusion of Earth Day, dissolving into Deep Peace. Stunning melodies, soaring harmonies, and an infinity of layers of life sounds all permeate this track--as well as the center portion, which puts the guitar at the forefront, though even during the "solo" of sorts it is very melodic and very much just a small part of the complete sound.

The fading beauty of Deep Peace suddenly finds itself backing a monolithic guitar riff: Canada. The high point of this song are the clear high point here, producing a synergy of human voices that is quite difficult to achieve. This is a very solid track, from the gentle screams about beef to the thickly sung lyrics about John Denver.

Down and Under is a short, simplistic instrumental that comes right off Canada's heels. The introduction of a theme in acoustic form before turning it heavy and electric near the end is a trademark of Townsend instrumentals. In some parts, it feels almost like the straightforward rocker type of song; however, the middle section features more of clever harmony and wry vocal work.

Again Townsend pairs beautiful melodies with an aggressive chorus. In Nobody Here , Devin's mellow and clean vocals get a spectacular workout as he gently sings away.

This time, the middle section of the song is fiercer than the rest of it, but still very melodic. Throughout its length, there is some gentle piano, something which is never very prominent in any of Townsend's work, at least not in his earlier albums. This song also features a full-blown guitar solo, which is also quite rare to hear from Devin. The solo is likewise mellow and striking, not rapid shredding or anything of the sort that is commonly associated with a metal album. Tiny Tears kicks off with a slow start, which seems to be similar in terms of overall feel to Deep Peace.

The song continues softly for most of its length, though some heavy riffing closes the track out. Stagnant is the proper end to the album, more or less. There is not quite as much harmony in this track as in most of the others, but the vocals that are there showcase Townsend's range and flair. Despite some angst in the verses, the song ends up feeling like a refreshing and cheerful end to the album.

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The bonus track, Humble not Universal as it says above , is an exercise in production and sound layering, but still with the feel of not really being a part of the integral album. On the second disc yes, I know this is technically not the two disc version I'm reviewing, but I might as well discuss it here , Universal is a funny little metal ditty. Actually, goofy might be a good word to describe it, though it still holds itself as an actual song and not just one where the guys are messing around. In the end, though, simply reading a review of the album or listening to a song sample streamed through a pair of speakers does not well explain the sonic quality of this release.

In a set of good headphones, however, the intricate work Townsend poured into layering and soundscaping really shines. If you are interested in Devin's solo work and are a fan of deep, complex music that carries a lot of atmosphere with it, this is a great place to start. If, on the other hand, you are more used to a standard progressive metal sort of vibe, perhaps check out his release Synchestra.

It didn't blow me away on the first listen. I had a bit of Ok that's cool enough But as with many good prog albums, this one grows with more listens. More of the separate layers of Devy's wall of sound come through, some of the lyrics make a little bit of sense, it just comes together a bit more. My least favorite song is Fluke as it's a little too pop, a little too major. Aside from the transitional moments I love getting Olives as a track on random play on last. IMO the best work of one of the few truly unique voices in music. Devin Townsend is an artist known for his strange, yet undeniably original and unique music.

However, it's full beauty did not reveal itself to me until after a good many listens. At first listen, one may be puzzled by the overtracked recording, surreal lyrics, and incredibly anti- commercial approach to myself. Townsend defies many conventions, and alot of the songwriting may seem 'odd' or anti-climactic to one that isn't used to it.

However, as the sounds become more familiar, it starts to wash over you, and the true magic of 'Terria' unfolds. A very earth-based album much alike Synchestra there are many recurring themes of nature wound around the music. Possibly the most defining quality of Terria, and Devin Townsend's music in my opinion is his unparelleled recording technique.

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With the incredibly dense overdubs, there is a 'noisy' quality to it that contributes greatly to the 'organic' quality of the album. A top five record for me. Terria has quite a pastoral feel to it. It is apparent almost immediately in the opener Olives, which starts with some almost electronic and lush acoustic noises before keyboards, guitars, and heaviness show up in the last minute or so.

That heaviness continues into Mountain and Earth Day which has some really humorous lyrics and is one of my favorite Devin Townsend songs before the pastoral feeling returns in really heavy doses throughout the album. Even amongst the heavy moments, there's plenty of lush atmosphere and acoustic guitar work that makes the album cover seem to describe the music perfectly. Devin mixes his usual heaviness with almost pop-like structures. Well, at least Devy's take on pop sensibilities.

Songs like Stagnant really add a bit of diversity to this album as well, being mostly gentle acoustic pieces. Stagnant is also one of the more accessible songs on the album, but it works well here. I happen to have the bonus track for the album, Universal, and while it doesn't fit in that well with the rest of the music I understand why it's not a part of the regular album , it is pretty quirky in a funny way. I can see how some refer to this as a masterpiece of experimental metal, and I would have to agree. There's just a certain touch here at times that feels lacking at times on other Devy albums.

Perhaps Terria has the diversity and more acoustic instrumentation that I wish Devin would employ more often in his other work. I'm not really sure what it is. Even though this album is from almost 10 years ago, the production is simply gorgeous. Giving this album anything other than 5 stars just feels wrong somehow. If you want to hear a master of experimental metal at work, I suggest you purchase a copy of this album. As a side note, I initially thought Terria was one of the weakest Devin Townsend albums, but it's so multi-layered even by his standards that it takes repeated listens to truly capture the meaning of this record.

Devin is the only thing that shines on this record. His choice of musicians is only sensational, a real class act. Jamie Meyer and Craig McFarland were previously unknown to me before, but they really do contribute a lot. Both are very profficient at what they do, and ultimately provide the perfect backing for Devvy. I'm utterly shocked that they are not very well known. I personally don't think he could have chosen better, and I think his drumming is paramount in this record for one reason alone: Hoglan gives more beef to the music than any other could.

Maybe because he's a big guy? But the fact is he hits those tin cans hard, and provides a good few megatonnes of energy to the music, which is another fantastic trait to Terria. Now onto the actual tracks themselves. I will not rant too long because I can go on all day about the intricacy and beauty of each of them, but I will give a brief narrative of a few of my favourites. Earth Day is one of Devvy's strongest songs, so you can expect a lot. To sum up what is packed into this marvellous epic, I will list the things he includes: soring harmonies, energetic melody, melodic guitarwork, clever and ultimately meaningful lyrics you will get the message pretty quickly , tight, heavy drumming, great atmospheric synth lines, memorable riffs, uncommon modes, concise songwriting and a really strong sense of tightness thought put in.

And as with all great music, the more you listen, the more you get out. Just listen out for the minor details and you will be rewarded beyond measure. Truly stunning. Now what could follow such a glorious song played so early on in the album? Well Deep Peace is no pushover. It starts out really quite mellow, which is a lovely contrast, with just a solo acoustic guitar taking the lead. But don't worry, it's not just 7 minutes of this kind of atmosphere, because that would be boring right?

The heavy instrumentation kicks in for a kind of poppish number at a glance. But we are treated to a guitar solo very classically influenced I have to say and a fantastic bit of prog. Once again, the beauty of Devin Townsend's writing cannot be compared with anything else. The man is a genius, and I will let you uncover the rewards yourself, as I can't put this song into words. The Fluke is glorious, if not almost as amazing as Earth Day. It is more upbeat than the previous songs mentioned, starting out with some accapella distorted guitar thrashing out some chords and then BAM: the song kicks in and we are treated to a poppish metal tune with some really phenomenal melodic hooks.

That is, in essence, what this album is all about for me: melodic hooks. No real technicality here except for the clever tuplet usage in the first triple time section, and even then it is never overdone , just otherworldly melodies. One of the strongest Townsend songs ever to come out of his skull. Overall, this album is really a masterpiece, and I plan to coin it that once again, along with many other reviewers, in my rating.

It deserves to be up the top with the greats in prog metal like Blackwater Park, Lateralus and Crimson, and so I will help to put it up there by giving it 5 stars, pure and simple. It took me a while to appreciate this album in it's entirety. I always loved the first couple of songs, but I was never really into the last couple of tracks. I have to say this one was a grower, and boy, did it grow on me. Devin Townsend with this album reaches to his highest peak, and also arrives to maturity, after a few albums. The only album that was able, after the release of this album, to equalize "Terria" was "Ziltoid The Omniscient", the other Devin Townsend masterpiece.

The album that mostly defines Towsend's crazy world. The opening track, "Olives", is quite eerie, being a sort of sample of a man speaking with a very low voice, as well as an avant garde song with different, strange, and a bit creepy parts. Towards the end, the song explodes into a heavy, simple riff, which ends almost immediately, with the end of the song.

Mysterious, but epic, with haunting vocals by Devin, at times strong, at times delicate and suspended. Brilliant time changes, this is one of the artist's most progressive songs in my opinion. Another Devin masterpiece: alarmed atmosphere, many times changes, many excellent themes and riffs. Great chorus, great verse, and very well done experimentation. Another key track. It get's heavier and heavier, but it never becomes too hard. The experimentation is sublime in this piece. Devin is in shape for this song, since he gives a brilliant vocal performance, and really makes the song.

Even this song isn't as heavy as "Mountain" and "Earth Day", it's lot dreamier, relaxing, and cheerful. Brilliant song. Or, it can be considered a bridge, that connects the first and second part of the album. The riff is great, even though it's always perpetual, for the entire song. Still, awesome climax and great bridge. Great vocals, great verse, too bad the chorus isn't as good. It is a lot faster than "Deep peace" and "Canada", as well as much heavier and technical, musically speaking. Still, it has it's delicate vocals, like during the verse. I love this song.

Great melody, in both the verse, which is between prog and psych, and the chorus, much more enlivened. I never liked this song much, now I love it. It has an interesting melody in the beginning, it get's more plain after, when the electric guitars come in. Generally speaking, this is the dreamiest and spaciest song. In fact, it took me a while to fully understand it. The melody is great, very cheerful and optimistic, like usually Townsend likes to end an album.

I hated this song for a while there, now, of course I love it. Very catchy and memorable, I really don't understand how I didn't appreciate it earlier. Great way to end an album. Certainly its the artist's masterpiece, a brilliant progressive album, that should be in every prog and metal fan's collection. Terria is perhaps the greatest thing Devin Townsend has done up to Ziltoid, which is masterful in it's own quirky way. Terria is a serious emotional album reflecting on life and it's source and the emotions of the earth.

To capture such beauty Devin delves headlong into darkness and then shines with rays of hope to present some truly uplifting music that will resonate with some listeners in an unforgettable way. At first listen the album washes over and seems to just flow like waves over the listener and after the first two tracks I found myself forgetting I was listening to a particular song as it all seemed to blend seamlessly. Then Earth Day started and I sat up and simply was astonished at the structure, the time sigs, the musicianship and Devin's incredible vocal treatment and the anger that is invoked is unbelievable.

A masterpiece track for Devin that will mark his music forever. Then the album seems to pick up pace with one incredible composition after another. After the brutal confronting Mountain and Earth Day, Devin takes us on an emotional journey through the Canadian countryside and beyond into the very soul of a torn and broken man; there is melancholy solitude in Deep Peace, the freedom and exhilaration of exploring nature on a freeway in Canada, the reflective nuances of Down and Under, the ferocity of The Fluke, the sense of loss and alienation in Nobody's Here, the exploration of sadness in Tiny Tears, and the joyful exuberance of Stagnant.

Then Universal takes us to another level again, just as Olives sent us into the realm of the imagination at the beginning of the album. At the end of the journey we are released into the bright sunshine; the ray of hope that lifts up the human spirit. Terria is a masterpiece for all these reasons and the fact that Devin did everything right with this album.

The songs are multilayered with various instruments and vocals, and it is a veritable wall of sound that lifts the roof off anything he has done previously.

Liner Notes

There are a lot of subtle hidden treasures to unearth to ensure repeated listens will not get laborious. I can assure you that this album is one you will return to and hopefully by the end of each journey you will feel lifted up and refreshed by a master of his craft; the great Devin Townsend. It backs off as spoken words and birds continue. Oh yeah it does. It settles right down at 2 minutes but the tempo picks up.

This is so cool. Vocal melodies and heavy drums follow. A scream after 4 minutes then Devin starts to sing again. They stop as the tempo picks up. This sounds great! Vocals are back. Reserved vocals a minute in. A fuller sound a minute later. Vocals stop around 3 minutes and the guitar leads. It settles before 3 minutes then builds with vocal melodies. Rain comes in late. Great tune! A very cool tune. Nice guitar 5 minutes in as the thick atmosphere continues with heavy drums. This is gorgeous. It turns heavy late to end it. No doubt this is one of Devin's best, right up there with "Ocean Machine" and well deserving of a 5 star rating.

Now, I'll admit, "Olives" didn't exactly get me pumped up for a great ride. I thought there would at least be some strings or something to build tension, but instead these awkward guitar chords that sounded like someone was curious, but by the end of the track, I'm anticipating a masterpiece, and "Mountains" does not disappoint. Add to that key and key signature changes, and the whole album suddenly opens up with a minute of excess noise filling up the rest of the track. Already the seeds have been planted and DT has discovered the secret to creating masterpieces, a formula he would repeat 3 more times "Synchestra", "Ziltoid" and "Deconstruction" in different but similar fashions.

However, those reviews will be saved for another time. When one looks at Devin's solo discography, after "Terria", he released "Accelerated Evolution" in , which may not be as progressive as "Terria", but what I call "epic rock", with guitars and feedback screaming and echoing throughout the disc.

After that it's "Synchestra in '06 and "Ziltoid" in '07, excluding his sonic experiments "Devlab" and "Hummer". To me, it's odd that after Terria, DT release 3 more albums, 2 of which I hold in regard as prog metal masterpieces. Now, "Ziltoid" is more of a concept album than a "Metropolis, Pt. Then "Mountain" bursts forward into life with "Earth Day" backing it up, just as loud "Triumph", "Babysong".

Finally, the action quells in "Deep Peace" Even if only for a little bit on "Vampolka". Yes, the structures branch out in different directions after that, but what's interesting to note is that "Terria" seemed to cement Devin's interest in grandiose entrances, loud, echoing guitars, and almost the slow, chugging pace, evidenced in "Mountain" and "Earth Day".

Once you understand the logistics behind the in sanity of Devin's genius, you pretty much know what to expect from his next album, while at the same time stuck guessing at what he's going to come up with next. Knowing the basis of the first few tracks, it's almost irrelevant to go through the rest of them. Besides, surprises never hurt anyone. We all love surprises. The times when he allows the music to shine through and his vocals to be unfettered is so unusual as to cause an interesting effect, obviously why he chooses to do so.

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This is much more than just music; it is how the songs can be treated so that they sound very different to anything else around. He is well used to volume, and how to use aggression but here it is behind a gossamer wall that only lets slip when he wills it. This is never an easy to listen to and certainly will not appeal to the majority of either rockers or prog heads, but they are the ones missing out. Typical of many of Devin Townsend's pre-Devin Townsend Project solo albums, 'Terria' integrates a variety of styles and influences.

But the music then goes of exploring in a non-aggressive vein with a melody of 'whoa-whoa' before returning to the thunder of the beginning with a trademark scream. It's interesting to point out at this time that the guitar sound is not Devin's usual rich distortion tones but a simpler sound more like seventies proto- metal. If you are familiar with Captain Beyond's debut album then that is more like the guitar sound you will find here just with more bass backing it. It strikes me as having a very earthy feel to it, and in the song 'Canada', which almost has a slow and heavy country vibe to it, the guitar sound really suits the music.

Other styles to be found on 'Terria' include the unusual for Devin simple but classically influenced guitar solo in 'Deep Peace'; an 80's power ballad-styled number with 'Nobody's Here' which comes complete with an emotive guitar solo; an 80's hair-band song with 'Stagnant' that sounds like it could have been the closing track on an album by Cinderella or London Quireboys; and the pretty instrumental number 'Down and Under', which begins with some acoustic strumming and gradually moves to a heavier theme but not without returning to its upbeat sound at the conclusion.

For a Devin Townsend album or Strapping Young Lad for that matter , 'Terria' includes an unusual amount of guitar soloing. According to the article on Wikipedia, Devin doesn't like shredding and only includes a guitar solo is he feels it can work within the musical framework of a song. Thus it is possible to find few if any proper guitar solos on many of his albums. Yet 'Terria' includes solos on five tracks, and Devin proves that he is capable of soloing in different styles that do indeed suit the music. In fact, listening to 'Accelerated Evolution', 'Deconstruction', and Strapping Young Lad's 'The New Black', Devin proves that he has worked very hard to be able to pull off some excellent guitar solos.

But again, typical of him, he only employs any of his particular skills when he feels it belongs in a song or instrumental piece. No early Devin Townsend album would be complete without nature sounds, radio broadcasts, background music, and other sonic decor. We can hear a Chinese radio broadcast at the conclusion of 'Mountain', a French-Canadian radio broadcast at the end of 'Canada' and also in 'Canada', a curious slowed-down recording of the beginning of a story about a bird in a nest.

This recording was included at normal speed and in a longer version at the end of the 'Detox' '96 demo, which appeared as a bonus track on the reissue of Strapping Young Lad's 'City'. I have read that this is actually a recording of a story written and read out by a very young Devin Townsend. There are two additional points to mention about the music here. The first is the curious and for me disappointing conclusion to 'The Fluke'. This gets supplanted by some quick notes that play like a seventies electronic album, and this in turn drops out to be replaced by a low pulsing tone. Static fades in over the low tone and a clean guitar sound over the static brings us to the end and leads us into the next track, 'Nobody's Here'.

The other bizarre track is the hidden one at the end, 'Humble' which begins very promisingly with some strummed guitar backed by bass guitar and string synthesizer. It sounds like the makings of a demo, the early framework of a song. The music attempts to move in a new direction, there's a mistake, someone laughs, the recording breaks to silence for a second, and returns. The song is abandoned for another take but then a backwards recording runs on repeat until the end of the track. This lasts for about three minutes, and at one point some water drop sounds come in.

I gave the Devin Townsend Band's 'Synchestra' five stars and at first I was sure that I would give this album only four, in spite of it being Devin's most highly rated album on PA. However, with each subsequent listen, the album has really grown on me more.

I now feel it makes for a very good companion album to 'Synchestra', namely because the albums both sound very earthy to me though different in guitar sound and overall musical approach. Still, they share a commonality in that they both feature some simple heavy music in a progressive vein and some more complex music at times. The vocals cover nearly all of Devin's diverse range of ability and the music styles also spread out.

In fact, if these two albums share any direct bond it can be found in a riff in 'Earth Day' which sounds very similar to a riff that surfaces in 'Baby Song' on 'Synchestra'. If you are interested in progressive metal that includes traditional metal, hair metal, experimental and post metal, with a bit of aggro-metal thrown in, topped off with a twinge of heavy country on 'Terria' and world music on 'Synchestra' then I recommend buying both of these albums together.

Terria ditches the insanely fast extreme metal in favor of a more laid-back, atmospheric metal sound, while still retaining Townsend's "wall of sound"-style production. The result is a densely layered labyrinth of shifting tempos and pure honesty, clearly marking a strikingly different style than most of Devin's works. Guess what? It is easily one of Townsend's greatest achievements if not the greatest. The album opens on an odd note with the track "Olives.

The song starts with a mammoth riff with a growl from Devin, before one of the biggest surprises hits you: Instead of using insane screams like in Strapping Young Lad, Devy opts for a very soothing clean voice to layer over the pummeling sheets of guitar. After a minute or two of the heavy riff rolling along, a more atmospheric section starts up to give more room for Devin's musical diversity to shine with his bandmates.

Overall, these two tracks present a very unique start to the record, but are fantastic either way. Another huge highlight of the album is "Stagnant," the closing track not counting the hidden track, "Universal". The song is an absolutely gorgeous ballad that can perfectly meld force and beauty into a seamless whole. The lyrics aren't the deepest on the album, but when coupled with the elegant melodies, they are elevated to a much higher plane.

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As I said before, the musicians backing Devin Townsend do an excellent job of doing so. The all-encompassing metal drumming legend Gene Hoglan joins Townsend for a toned-down but effective and expansive performance. Even the descriptions I've given to this album are just the tip of the iceberg.

Terria is one of the best metal albums I've ever listened to, and while it may be a tough album to get into which, for many people, it is , listen to it multiple times and it will probably grow on you, if not immensely. Just go hear the album for yourself; you won't regret it in the slightest. No one expresses himself like Devin does. His music is heavy, usually described as a wall of sound, which is a good way to explain it. But that sound is full of beauty and emotion, it's just that it is expressed so loudly sometimes, and to me it is hard to do that with the power that Devin does and still make the music so amazing.

There are plenty of great tracks here, but I tend to direct people to a few n particular, namely "Earth Day" which is an extreme song about recycling and birthdays and everything. This song is even more personal to me because I can consider it an anthem that Devin wrote about me since my birthday falls on Earth Day.

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Ok, so maybe it wasn't about me, but it gives me this perceived connection to DT. On the other end of the spectrum, there is the beautiful track "Deep Peace" which is so wonderfully atmospheric and immersive, and that guitar solo in the middle is to die for. It's not just his extreme and emotional approach to music that I love, but it is his unique sound and the way he orchestrates everything to sound so much like a rock and roll symphony. I also love his powerful vocals, and yes he goes into screaming territory, but he does it right with emotion.

On this album, everything has such an epic feel to it, like every note and every passage is important and Devin treats it that way. Devin wanted to make this album his tribute to his country Canada, and the music here conveys the love he has for it. It is an album that comes from his heart and to me, that is very apparent in the music here, everything so carefully crafted into powerful songs that are oftentimes very very loud, but also extremely beautiful and emotional. That is why I have no qualms giving this 5 stars, but also why I consider it one of my personal favorite and rare 6 star perfect albums.

My words can't give it the justice it deserves, listen to it and see if it touches you like it touches many other fans out there. Considered by many to be the DT's masterpiece. I can't decide really if I agree, as DT has several strong even albums. This one is a step forward from the debut album and surpasses it also in terms of ambitions. The first ambient track puts you into an another world before human emotions on both I bought this album because it was cheap. I knew of Devin Townsend by reputation, but have never thought of mysel Terria is the fifth solo album by Canadian musician Devin Townsend.

As a progressive rock fan, I have taken chances on albums I have never heard of prior to investigating ProgArchives. In most cases they paid off in a big way, but some not many records leave me scratching my head wonderin Having released what was a disappointment to most of his fans, Devin felt a bit lost. Then an idea hit him To most people, this idea would seem barking mad, but because it's Devin behind the wheel, he has made what I think Terria is without a doubt Devin Tonwsend's best album.

It seems Ocean Machine and Inifinity were excellent compositions and Devin saw the necessity to continue working on this vein rather than a heavier sound. He manages to get that combination of sounds: relaxing, ethereal, heavy, ambient, ro Terria is for sure Devin Townsend's true masterpiece! This album covers a wide range of feeling and emotion, as well as staying to his Strapping Young Lad metal roots.

It starts with voices and birds, and then begins to repeat a riff, which then blends in