I’m happy to it that Hevy Devy is an artist who whilst I ire greatly, rarely gets me excited in the way he stimulates his army of fanatical fans, many of whom seem able to burst into tears or wet their pants at the mere sight of the man. I’ve dipped in and out of his extensive catalogue over the years, have seen him live several times at both academy and festival size shows, and had a ball when his bluegrass Casualties of Cool played in London a few years ago. I have the signed CD as well. So, I’m more of an agnostic than an atheist if you like.
Lightwork is the latest release by the Canadian, who seems to be releasing new music with conveyor belt-like regularity. His last ‘proper’ album was Empath in 2019, although there has been more recent music with The Puzzles/Snuggles releases. Working with an external producer in Garth Richardson for the first time ever seems an amazing fact for a man with such history and discography, but it’s also perhaps a mark of the control that Townsend has over his music.
Lightwork is his response to the current woes of the world. It’s due to be accompanied by a limited edition second disc but here we are focusing on Lightwork only. The immediate impression is that this is one of Devin’s lighter releases. “Moonpeople” starts in laid-back fashion, more acoustic than electric although the crunch does increase as the track progresses. It’s a multi-layered song, huge production values and soaring backing vocals adding to the grandiose feel before it slowly dips towards the end.
The ambience that Devin creates remains a constant throughout. His music is beautifully crafted. The album soars with all kinds of effects, backing vocals, delicious harmonies, symphonic elements, and the usual sonic soundscapes that the man has made his own. It’s uplifting, enlightening, and at times quite inspiring. “Call of the Void” provides a breathtaking sample of him at his peak. The music is uplifting, the general tone and vibe warm the heart and his vocals are rich and relaxed. “Heartbreaker” continues the wide soundscapes, with luscious layers of synths, guitars and percussion providing a cinematic delivery over a delicious seven-minute journey. You might guess that by now I’m quite taken with this album.
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The variation is impressive, with each song standing alone but also forming part of the overall collection. “Dimensions” is totally different, a dance, drum and bass vibe thrusting the song forward. It’s semi-industrial and a spark of history from the SYL days. Not that Devin ever looks back, and the sonic shift soon happens. The vocals are expansive, unforced, and organic. It’s also quirky and unpredictable with the changes in tempo and direction making this song a wild ride.
Towards the end of the album and there’s even more curved balls. “Heavy Burden” is probably my least favourite here; it’s a bit too saccharine coated with a definite trippy feel. It all leads to the epic finale, which is “Children of God”. All ten-minutes of it, it’s a swaying, anthemic song that sweeps along in typical emotive style.
It’s a fitting end to an album that certainly confirms that the maestro can still deliver. The DT army will love this. Unconditionally. For me, it’s been an enjoyable listen. It’s beautifully crafted, but possibly too polished and over produced. There’s not a mark on the chrome, it’s gleams that much. But if you love Devin, then this will not disappoint one bit.
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Lightwork is out on November 4th
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