DEVIN TOWNSEND PROJECT: 'Addicted' Pre-Production Footage Posted Online

Video footage shot during the pre-production sessions for the next DEVIN TOWNSEND PROJECT record, "Addicted", can be viewed below.

Vancouver, British Columbia, Canada-based band drummer Ryan Van Poederooyen (TERROR SYNDROME, THE DEVIN TOWNSEND BAND) recently stated, "I finished recording the new DEVIN TOWNSEND PROJECT record, 'Addicted'. I recorded drum tracks in a day and a half on May 6th and 7th. I'm stoked on how everything turned out. One thing I can say for sure is that Devin [acclaimed Canadian musician/producer Devin Townsend [STRAPPING YOUNG LAD, STEVE VAI, LAMB OF GOD, DARKEST HOUR, GWAR]) is back in a HUGE way. This album is loaded with pounding rock/metal songs, heavy guitars, punishing drums and Dev's catchy melodies. I'd say it's heavier than any of THE DEVIN TOWNSEND BAND material I was involved in and more catchy in a good metal Devy way. I'm excited to hear this album done, it could easily turn out to be my favorite all-time Devy solo album. Lots to be excited about; this album is going to kill."

"Ki", the first in a series of albums from Devin Townsend to be made available under the DEVIN TOWNSEND PROJECT moniker, was released in Europe on May 25 and will be issued in North America on June 19 via InsideOut Music.

In a world of increasing conformity and musical banality, Devin Townsend is among the few real personalities who have character, charisma and surprising innovative creativity. As a solo artist and producer, leader of the (by now disbanded) STRAPPING YOUNG LAD, with whom he played Ozzfest and the main stage at the Download festival, and vocalist on Steve Vai's album "Sex And Religion", Townsend has always inspired fans and critics alike.

Comments Townsend: "'Ki' is the first in a series of four albums under the moniker 'DEVIN TOWNSEND PROJECT.' Each album is essentially a different band or collection of session musicians playing my music. They were chosen based on what the theme of the album is and the vibe that the album is trying to project. The album 'Ki' is very specific in this quartet of albums in that it controls its anger throughout, barring one song — 'Heaven Send' — and really is an exercise in having little to prove."

Devin adds, "'Ki' is a subtle, severe album. A challenge in some ways. As the 'intro' to the story (the story being the four records) it needs to set the stage. The point to the music is that the whisper is louder than the roar in many ways. 'Ki' is (on the surface) quiet and unassuming. Whenever it begins to lose its temper, it stops. It does not let it go, it is avoiding that temptation, as that sort of anger is really gratifying but ultimately just leaves me unhappy. 'Ki' is about control, and although it is not an overtly 'heavy' album, it is heavy thematically. On these four records, it starts with 'Ki', which is essentially a cross section of all the albums, but the idea is that it is not here to impose itself. It just does it's thing. Like a little a.m radio playing in the corner.

"Many folks have been waiting to see what I do next after SYL and 'Ziltoid', so after careful consideration, I wanted the first record to be quiet and subtle, however fear not chaos fans... the next two records in the quartet are progressively heavier, and the third album, 'Deconstruction', is the heaviest music I've ever created. So with 'Ki', I wanted to make it a bit of an appetizer. I know myself, that as I get older, a steady diet of chaotic music does little more than give me a headache. So with 'Ki', I wanted to re-introduce myself in a way that says, 'I can make chaos like you've never heard, but for starters, please get comfortable.' The common ground to my previous releases would be my voice, but even my guitar playing has changed. I use primarily a clean tone now (no distortion) and in terms of the sonics, I have used very little compression and it is not mastered very loud. The term 'Ki' loosely means 'life force' and, therefore, in almost the antithesis to my previous albums, there is no real editing or triggers on the drums. Much of the music was recorded 'live off the floor.' I wanted to preserve the energy flow without worrying so much about mistakes."