DEVIN TOWNSEND — Ghost (review)

Album · 2011 · Non-Metal

5/5 · 2021-04-27
Necrotica

Let me take you back to 2011 for a moment. My junior year of high school had just come to an end, and I was ready to take on senior year in a few months. But in the summer that separated these events, my brother and I - along with a few friends - decided to attend a metal concert together. Children of Bodom, Devin Townsend, Obscura, and Septic Flesh were in the lineup for the show we attended at the Los Angeles House of Blues (back when that place was actually around… rest in peace). Now... usually, to get hyped up for a show, we’d play some sort of extreme metal to get us in the mood for the moshpit. However, when we finished a show, we’d try to wind down with something a bit more calming and relaxing to get rid of the intense headaches we’d likely have by the end of the event. But this particular show was significant for two reasons. 1: It was my very first concert (although unfortunately I got food poisoning. How’s that for a start?). 2. The album we chose for the car ride home would change the way I view music forever. It would not only be my favorite album of that year, but it would also be the record that opened the floodgates to a world of music I never even explored or considered.

Ghost had just been released in the summer of 2011 to coincide with the release of Deconstruction, and the two are quite obviously polar opposites. For everything the latter did to be loud and chaotic, the former would counter with the most mellow new age-oriented folk rock around. Devin Townsend had already explored the avenues of atmospheric rock before, as heard on the phenomenal solo releases Ocean Mahine and Terria. But Ghost was the first time that his sound was this stripped down and light on the typical distortion and force of his output. In fact, Deconstruction was the reason I went to that concert in the first place, but Ghost was the reason that the same night ended up turning my music taste on its head. All of a sudden, it was time to stop placing so much emphasis on pure technicality or brutality, and more on atmosphere and what “environment” the music inhabits. Before then, I was listening to progressive rock and metal almost exclusively; hearing genres such as folk, new age, or classical music (outside of piano lessons) was completely alien.

However, just the aspect of loving this album on a personal level doesn’t mean it can’t be appreciated on a more objective level. To put it simply, this experience is just beautiful. It loves immersing you in its world, taking you to exotic locations, and letting you stay for as long as you like. Devin’s the tour guide, and his smooth vocal performances are a perfect compliment to the lush, lavish instrumental passages that do their best to provide a aural sea to bathe in. Also, for as soft as the overall collection is, there’s a surprising amount of variety that helps it stand out. From the little swing-like rhythm of the title track, to the soothing bluegrass inflections of “Blackberry,” to the understated flute-driven melancholy of “Monsoon,” to the expansive ambient grace of “Infinite Ocean,” there’s a lot to sink your ears into. But the biggest thing that defines this album is the immersion. Rarely has an album - even in genres like new age or ambient - transported me away from reality and offered so much escapism. There’s still a lot of technical detail and intricate artistry that goes into this album, but it’s all poured into the atmosphere it generates. “Texada” in particular uses Devin’s trademark “Wall of Sound”-style production to create incredible layers of synthesizer and guitar melodies that resemble the feeling of floating on the ocean itself.

2011 almost feels like a distant memory today, but there’s no doubt that Ghost still casts its influence on my listening habits and interests even now. It’s fascinating that a musician who’s most famous for his metal output can explore the softer side of his art so well, but as he’s proven time and time again (Casualties of Cool being the most recent example), he’s truly an example of a multi-faceted artist who can cross genre boundaries with ease. And no matter how much City or Ocean Machine get brought up when people talk about Devin’s best records, Ghost will always be the one I associate the most with HevyDevy.