Itâs become almost clichĂŠ at this point to label Canadian virtuoso Devin Townsend a musical genius; yet, the ways in which his career has culminated in a fearlessly and endearingly distinctive level of aural and academic profundity means that nothing less would suffice. In fact, his prophetic willingness to alternate styles, concepts, and even personnel as needed (all the while maintaining an overarching trademark essence) has led many aficionados (myself included) to see him as a modern-day Frank Zappa. More than any of its predecessors, Empath totally encompasses that unparalleled breadth of limitless and vital imagination and introspection. At times blissfully serene and brutally suffocatingâas well as colorfully madcap and poignantly philosophicalâitâs Townsendâs ultimate attempt at simultaneously exorcising personal and artistic quandaries amid a stunningly adventurous, organized, and powerful statement.
Above all else, Townsend sees Empath as a means of exonerating himself from restrictive categorizations and obligations to fully realize and express all that he is at once. (See his episodic Empath documentary for even more insights.) In other words, the LP is (as the press release puts it) meant to âsee what would happen if all the styles that make up his current interests were finally represented in one place. To finally shake the fear of expectation, and just do what it is he was meant to do creatively.â While itâs not quite that all-encompassing, it is incredibly multifaceted yet unified, incorporating elements of folk, orchestral, ambient, pop, progressive rock, jazz, and EDM in-between some of the most vicious and divine compositions heâs written. Of course, the multitude of musicians on Empathâsuch as drummer Morgan Ă gren, vocalists Anneke van Giersbergen and Che Aimee Dorval, and guitarists Steve Vai and Mike Keneally (who also co-produced)âexponentially expand Townsendâs ability to completely capture that vision.
Thematically, the sequence explores familiar territory (regarding âwhat makes life so simultaneously beautiful and challengingâ while âneither fear[ing] those things nor let[ting] them define usâ) better than ever before. Part of that entailed finally âmak[ing] the statement [Townsend] had been trying to âget rightâ in the pastâ in a way that was also ârooted in helping people and staying emotionally centered throughout.â On that front, Empath is an absolute success, as the sheer scope of musical and intellectual ideas contained within is as technically astounding as it is universally inspiring.
Part of what makes the full-length such a thrilling opus is its abundance of multipart compositions and sustained continuity. The first single alone (âGenesisâ) is a towering achievement of stylistic mixtures that features more innovation and intrigue than many of his contemporariesâ entire collections. At just over six minutes in length, it stampedes around classically-infused pop exuberance (a la Addicted), dense death metal complexity (a la Physicist), lovingly transcendental transitions (a la Ghost), and a multitude of zany segues without ever feeling unfocused or extraneous. Later, âBorderlandsâ adds even more animal noises and country rock influence to its mostly serene foundation, while the closing twenty-three-minute epic, âSingularity,â is like the far more meditative sibling of âThe Mighty Masturbatorâ mixed with the full range of Casualties of Cool and Deconstruction. Add to that a few pleasing interludes (such as the exquisitely symphonic âRequiemâ) and repeated motifs (such as the tropical environments that begin with opener âCastawayâ) and it's likely the most ingeniously fluid and self-reflective record of his career.
Naturally, the relatively straightforward inclusions impress as well. For instance, âSpirits Will Collideâ contrasts angelic background mantras with operatic lead responses to yield an immeasurably empowering proclamation (âSo they rise / The fear and pain / But this isnât how I am / Donât you forget that you are love / Donât you forget that you are themâ). Afterward, âEvermoreâ offers many quick twists and turns while remaining immensely catchy and engrossing, whereas âWhyâ is gloriously healing and baroquely/chorally decorative. In contrastâand in a very polarizing but ultimately negligible decisionââHear Meâ integrates Nickelback singer Chad Kroeger into its relentlessly histrionic fury. Without a doubt, however, the standout of these more upfront endeavors is âSpriteâ due to its hypnotically moving falsetto verses and triumphant choruses (as well as its introductory narration thatâSPOILER ALERTâever so slightly tips its hat to Terria). From start to finish, itâs wonderfully meaningful and resourceful.
Effectively conveying why art is special in words is always difficultâespecially with someone like Townsendâso all of the above can only do so much justice to what makes this LP such a career-spanning marvel. As cleverly and touchingly rewarding for longtime listeners as it is effectively representative for newcomers, Empath is undoubtedly one of his greatest accomplishments. After all, Townsend has always been unmatched in his singular aesthetic choices and confidence, and heâs never offered such a comprehensive yet cohesive display of his abilities as he does here. As such, Empath is another work of grand measure, gorgeous humility, and yes, absolute idiosyncratic genius.