Review Summary: Love, passion, ambition, insanity
The Moth is the latest album from one of metal’s greatest auteurs, one Devin Townsend. From his late 1990s debut Ocean Machine onward, he has been one of metal's most beloved figures and one of the true innovators in the world of progressive metal. Devin’s discography is an odyssey in its own right, from those early albums which pioneered the ‘wall of sound’ production approach which is so common today, to his fantastical and silly releases, his heavy industrial alter ego under Strapping Young Lad, the Devin Townsend Project quadrology, and even his later attempt to make New Age Metal a thing. On top of all that, he’s just a ***ing lovable goofball, and to buy into Devin’s music is to buy into him as a person. I would argue his influence on the metal world is if anything underrated.
I could wax lyrical about my love for Devin and his impact on my musical tastes for hours, but we have a new album to talk about. To set the scene, Devin’s output over the last decade has been on somewhat of a decline in quality, which is understandable given his age and output, with his last release 2024’s Powernerd being maybe his most mailed-in release ever. So when he announced
The Moth as a project he’d been working on for the last 10 years and one of his biggest personal accomplishments, many of us felt a hopeful optimism. However when it was revealed an orchestral work - operating as one single linear piece - for many that quickly turned to healthy skepticism, as this felt like it would lean into some of Devin’s worse tendencies, such as coming across too goofy or theatrical for the tone he’s trying to strike, or trying to be too experimental for his own good.
Well after listening to this album a few times, I can say there is a LOT to unpack and digest.
The Moth is Devin’s most challenging and ambitious album ever. Operating as one long continuous piece made up of several acts, complete with an intermission, it commands active listening. It really cannot be consumed or appreciated as separate tracks or on shuffle or whatever. And it deserves more than a couple of days to sit, so this is more first impressions than a definitive verdict.
This is mostly an orchestral album, it's very much an opera with some metal sprinklings. If you are wanting a METAL album, you may be left disappointed. Devin’s love and mastery of these symphonic elements is admirable and impressive, even if some parts will sound somewhat familiar - it can feel very similar to a John Williams score at times, and others more like a Disney movie, which is of course high praise in the orchestral world, but that gives you an idea of what to expect. It is very hard to pick out individual tracks or moments because many tracks don’t even have distinguishable starts and finishes as they flow as one seamless suite.
The North Netherlands Orchestra & Choir swells with harps and strings, led by Devin’s still impressive baritone singing. His range and ability to register those high operatic notes is still incredible, and particularly showcased on tracks like the single
Home At Night.
War Beyond Words is the first track to introduce the metal, and its style of guitar and drumming together will feel instantly familiar to fans. But even in this first heavy track there is a moment with Devin doing this high pitched voice with high pitched guitar notes that sound too goofy. Later on
Enter The City, the higher sung choir lines again feel too silly and at odds with the more stirring and serious moments. And then of course there is a fart noise at the start of
Orion. These moments show that Devin just can't help himself, and even on something that’s meant to be his opus, he can't stop occasionally undermining the serious and dramatic tone. But then again, this album is meant to represent Devin and everything he is, so I guess that’s true to form. Look at the album art- this is Devin playing out his mind and soul for everyone to see. And I assume the many section on this which play out like a sci-fi space battle are a metaphor for the internal battles Devin struggles within himself.
In terms of high points though, the 8 minute
Covered in Causes sees some gorgeous dual vocal harmonies from Dev and long time collaborator Anneke, who returns by his side. Their collaboration is something that always works and elevates Devin’s work, and there are some moments of genuine beauty here. When the guitars and drums kick in, it fits perfectly to add to the drama.
Lexin is unlike anything you’ve ever heard, as the Orchestra falls the back seat, the drums come to the front with a steady rhythm, as what I believe are synths and electronics swirl around, giving it a very spacey, cosmic sound.
The album does hit it’s stride around the halfway point. Numbers like
A Proxy For God and
Prepare For War are examples of when the metal and orchestral elements work in harmony together to create something grand and dramatic. Especially this moment on
Prepare For War which breaks into furious blast beats and massive horns.
The Big Snit also features these chugging riffs over Star Wars-like violins that make it feel like the final battle in this crazy science fiction Devin has painted in his mind, before finally hitting a big explosive crescendo. And on that note I will say: there are very little in the way of big, exciting or cathartic moments - those moments where the tension boils over and things explode - and when they do come they are at the back on the album.
Towards the end things go completely off the rails on
A Life In Review, a total calama*** of more wild electronics, blaring horns and Devin going unhinged with his vocals. It’s a wild moment, and I assume this is intended to be like what looking into Devin’s mind is like. Does that make it a good? I don’t know the jury is still out, but it feels jarring in the flow of the record.
Stained Hearts is the last
real track and, for me, is the perfect balance of this album's approach. Lead by Anneke's soaring vocals with backing choir and Dev's harsh growls in support, with the band and orchestra in harmony together. It feels like the real climax of the album, and just about nails it - even if it is very similar to what we heard on 2012’s Epicloud.
And that’s partly why I think
The Moth will be such a tough sell for many. In additional to the single piece format, the orchestral focus, the total weirdo moments; this is a style that Devin has already dabbled in before in his career. You can point to songs like "Why?" off Empath, or the Deconstruction and Epicloud albums if you want a Devin Townsend symphonic metal outing, and those all offer pieces in more digestible, accessible forms, and with frankly more memorable and exciting songs.
As a first impression, this is a massive personal achievement for Devin, but I just can’t see how often I’m going to have the appetite to revisit it, given what you get out of if it vs what it asks of you. I'm giving this a 3.5 very good score, but honestly it’s a bit of an arbitrary rating that may change with time. For now, I’m just glad to see Devin continuing to be one of metal’s greatest mad scientists.
