Between The Buried And Me & Leprous, as opening acts!
by Monica Apostol
The Romanian metal lovers should pay a visit to our country neighbour for a great concert: The Devin Townsend Project – Transcendence Tour with Between The Buried And Me, Leprous at Barba Negra Music Club in Budapest, Hungary, starting 8.30 PM. Tickets are already put on sale. You can buy tickets by clicking here!
Bald Canadian operametal-genious Devin Townsend has fulfilled a thundering two years time but he’s not having any rest. Over the course of Devin Townsend’s storied career, a single constant has persevered: change. As far back as Steve Vai’s Sex & Religion, which Townsend fronted, to 2001’s landmark full-length Terria to the multi-instrumentalist’s country rock outfit Casualties of Cool to his stunning new album Transcendence, the Canadian isn’t too interested in keeping an even musical keel, according to hevydevy.com.
Industrial metal singer/guitarist Devin Townsend was born May 5, 1972 in Vancouver, British Columbia; after picking up the banjo at age five, he moved to guitar at 12, and within a few years was leading the band Grey Skies, later known as Noisescapes. Sending the group’s demo to the Relativity label, Townsend was not only offered a solo deal but was also tapped to sing on Steve Vai’s 1993 LP Sex & Religion, a collaboration that further extended to the guitar god’s 1996 effort Fire Garden. In between, Townsend worked on a series of projects with Front Line Assembly, and in 1995 issued the solo Heavy as a Really Heavy Thing under the alias Strapping Young Lad, a38.hu reports.
Townsend’s first solo album to be released under his own name was 1998’s Infinity, and it directly followed a difficult period for the artist, in which he was diagnosed with bipolar disorder. He would later identify his condition as an explanation for the difference in sound and approach between Strapping Young Lad and Ocean Machine. 2000 saw a mentally stronger Townsend release, the sharp, focused, and melodic speed metal album Physicist, while 2001’s Terria channeled an ambient pop sound. February 2003 brought an eponymous Strapping Young Lad record which returned to a traditional death metal template. Sessions for this release took place during the same period as those for the acclaimed first album under the Devin Townsend Band moniker, Accelerated Evolution. While 2006s Synchestra didnt quite reach the same high standard, Townsend continued to keep things fresh by following a straight-up ambient record — The Hummer — with Ziltoid the Omniscient, a rock opera about an alien who travels to Earth in search of the ultimate cup of coffee.
In the immediate years that followed Ziltoid, Townsend took a break from the music industry to rest, recharge, and rediscover the cathartic aspect of composition. In March 2009, a shaven-headed, teetotaling Townsend announced an intended four-album sequence from the Devin Townsend Project, billed as an opportunity to show that he could create new music without the assistance of drugs. The strongest of these four releases was November 2009’s Addicted, on which he collaborated with former Gathering vocalist Anneke van Giersbergen. Giersbergen returned for a central role on an unexpected fifth Devin Townsend Project album in 2012, the pop-infused Epicloud. In 2014, Townsend released the ambitious Z², a double album that featured a Devin Townsend Project album, Sky Blue, and a conceptual album, Dark Matters, the latter of which was a sequel to 2007’s Ziltoid the Omniscient. 2015 saw the release of Ziltoid: Live at the Royal Albert Hall, a recording of Townsend’s performance at the prestigious London venue in April of that year.
Transcendence is the seventeenth studio album by Canadian musician Devin Townsend, and the seventh album in the Devin Townsend Project series. It was released on September 9, 2016 via HevyDevy Records. Transcendence is the first Devin Townsend album not to be produced solely by Townsend, by featuring Periphery member Adam “Nolly” Getgood as additional producer, engineer and mixer. By Townsend’s request, the other musicians’ input to songs, arrangements and production is also greater than on previous Devin Townsend albums.
Between the Buried and Me is an American progressive metal band from Raleigh, North Carolina. Formed in 2000, the band consists of Tommy Giles Rogers, Jr. (lead vocals, keyboards), Paul Waggoner (guitars, backing vocals), Dustie Waring (guitars), Dan Briggs (bass, keyboards), and Blake Richardson (drums). Their debut eponymous album was released through Lifeforce Records in 2002, shifting to Victory Records for subsequent releases until 2011. Signing to Metal Blade in 2011, Between the Buried and Me released their first extended play, The Parallax: Hypersleep Dialogues in 2011 and its full-length follow-up The Parallax II: Future Sequence the following year. Their eighth studio album, Coma Ecliptic, was released in 2015.
Leprous, with 10 years of making music under their collective belt, the Norwegian quintet are a unique outfit in that, while they embrace the prog rock and metal “requirements” as laid out by the fans, the band’s sound is equally rooted in straightforward hook-laden metal. For every part Pain Of Salvation and King Crimson one may hear, there is an equal amount of Shining (NO), Devin Townsend and Opeth to balance it out. Not an easy task by any means, yet LEPROUS makes it sound effortless. “I’m not to fan of following genres in general,” says vocalist / synth player Einar Solberg. “I feel many people are putting too many limitations on their work in order to follow the conventions set by the genre they belong in. In my opinion, that’s the kind of things that kills creativity. The term progressive music has been gradually diluted through the years, and now it seems like the only requirement for being labeled as a prog band is that you include one or two odd time signatures plus a virtuous guitar solo in your song. The bands that truly deserves being titled as progressive bands are the bands who dare breaking with the conventions. That being said, I’m quite comfortable being labeled as a progressive band. The prog crowd seems to be slightly more open-minded than followers of other genres.”