NEWS: Devin Townsend ‘Addicted’

Here’s a press release from Devin Townsend about his new CD, Addicted, which is out in a couple of weeks! Make sure you check out Devy’s MySpace to hear the track ‘Bend It Like Bender!’


DEVIN TOWNSEND triumphantly returns with a greatly ambitious new endeavor under the DTP (Devin Townsend Project) moniker. The new, mind-blowing disasterpiece takes the man’s genius to unprecedented levels as he embarks on a massive 4-part album series, which kicked off with Ki and is followed up with the Addicted album that is set for a November 17th release throughout North America via Inside Out Music.

Townsend, easily one of metal’s most intriguing, ominous and immensely talented figures is taking this project to the masses as he will join genre visionaries BETWEEN THE BURIED AND ME, CYNIC and SCALE THE SUMMIT for a massive North American trek which kicks off January 8th.

The tour dates are below, and also be sure to head over to myspace.com/devintownsenddtb to crank the very interesting ‘Bend It Like Bender’ track.

Townsend further describes his excitement over getting back on the road, “Yo cats, so I’m starting to tour again, officially. I have a great team together, and we are performing selections from all my solo albums. However, I will not be playing Strapping material. I love that band and everyone involved and respectfully leave the legacy. However, through all of my solo albums, (and the current Devin Townsend Project with the next record Deconstruction) you can count on there being a ton of heavy material. From Ziltoid, Physicist, Deconstruction etc, mixed with Addicted, Ki, Terria, Infinity, Ocean Machine etc.

“The first tour I’m doing to get my sea legs back is with Between The Buried And Me, who I met on Ozzfest and are a FANTASTIC band, Cynic, who I have been a fan of for many, many years and are masters, And Scale The Summit, a really cool new instrumental band. I am playing second, and it’s a relatively short set, but for my first tour back it’s a total honor. It will be a different style of performance for me, as there is no ‘mask’. However, this incarnation is very different from the DTB (Devin Townsend BAND) this is definitely heavier… somewhere between SYL and DTB. And in truth, that’s pretty much where I feel I was meant to be all along. I’m honored to be invited on such a GREAT bill for the first tour back. Hopefully see you all then.

“The plans for the video for ‘Bend It Like Bender’ are currently underway, the director is none other than the mighty Konrad Palkewicz, who directed ‘Almost Again’ by STRAPPING YOUNG LAD, and ‘Coast’ off of Ki. It’s an all animated affair that is not nearly as ‘puffy’ as the song, it’s a mini movie with his incredible skills once again making my music seem much more poignant than it really is. I’ve seen some clips and it’s crazy good.”

Devin Townsend is back and has crafted the offerings of his much heralded career. Fans of hard rock, metal and overall interesting music take note because this material is going to touch your soul on multiple levels.

Devin Townsend Project dates (with BTBAM, Cynic, Scale The Summit):

January
8 – Nashville, TN – Rocketown
9 – Atlanta, GA – The Masquerade
10 – New Orleans, LA – The Masquerade
11 – Houston, TX – The Meridian
12 – Dallas, TX – The Prophet Bar
13 – San Antonio, TX – The White Rabbit
15 – Tempe, AZ – The Clubhouse
16 – San Diego, CA – House Of Blues
17 – Hollywood, CA – Sunset Strip
18 – San Francisco, CA – Slim’s
20 – Denver, CO – Cervantes
22 – Louisville, KY – Headliners Music Hall
23 – Detroit, MI – Magic Stick
24 – Chicago, IL – House Of Blues
25 – Cleveland, OH – Peabody’s Downunder
26 – Toronto, ON – Opera House
27 – Montreal, QC – Club Soda
28 – Boston, MA – House Of Blues
29 – Clifton Park, NY – Northern Lights
30 – New York, NY – The Fillmore
31 – Philadelphia, PA – Trocadero

February
1 – Baltimore, MD – Sonar
3 – St. Peterburg, FL – State Theatre
6 – Charlotte, NC – The Fillmore


REVIEW: Maton BB1200

Maton’s now-classic Mastersound model has gone through many permutations over the years, from the original versions in those famous photos of Phil and Tommy Emmanuel as young kids traveling around Australia playing to adoring crowds, to the more sleek and refined version favoured by Josh Homme of Queens of the Stone Age and Jesse Hughes of Eagles Of Death Metal. The basic template of the guitar lends itself to a variety of styles – classic rock, punk, jazz, even metal, and Maton has taken the opportunity to recast the guitar’s aesthetics and appointments accordingly.

The new BB1200 semi acoustic brings with it the vibe of a much older guitar. When I opened the case I experienced that same ‘aaah!’ factor one gets when holding a genuine vintage Gibson or Gretsch.

The review model was finished in a classy high gloss black with gold hardware – other colour options are ultra blue, cherry, black, natural and wine red sunburst, but custom colours are available for an extra cost. The body is made of Queensland maple (with a big chunky centre block for stability, and options include either a rock maple or Victorian blackwood top. The neck is rock maple, and its profile is surprisingly thin, almost like an Ibanez Wizard II neck, although the painted, glossy back of the neck also has a lot in common with Gibson’s slim 60s necks. The fretboard has a 12 inch radius and 22 jumbo frets.

The strings are anchored to a Tonepros nickel stop tailpiece and bridge set, fast becoming an industry standard due to its stability and durability, while the pickups are a pair of Maton’s own Alnico 8-loaded humbuckers, the JHB and JHN. Each pickup can be split to single coil mode, drastically increasing the number of sounds on offer.

There’s a warm, loud midrange to the BB1200, which is accompanied by a tight bass and smooth treble. It seems the guitar’s natural frequencies are perfectly tailored to sit well in a mix without overpowering the other instruments, but at the same time occupying enough of its own space to be heard. The bridge pickup has a great, loud classic rock tone with a touch of dryness and a lot of dynamic control. The neck humbucker is round and noodly, and in combination their respective volumes can be set to either darken up the bridge pickup, or brighten up the neck.

The single coil mode almost turns this guitar into a Thinline Telecaster, and the resonance of the hollow body makes it hard to resist playing bluesier styles. Switching back to the neck pickup on a clean tone, a fine amplified jazz sound is available. While acoustically it’s a loud guitar compared to a solid body electric, the body’s a bit too small to make it really viable as an acoustic instrument in the same way as some of the big jazz boxes, but amplified it can hang in there with the big boys.

One final thing I’d like to mention is the exceptional setup right out of the case. This guitar played so well that it was very easy to rip out blazing fusion or shred lines, yet there was enough height left in the strings to still be able to dig in with fingerpicking styles.

The BB1200 has all the makings of a modern Australian classic, and I wouldn’t be surprised if this guitar ended up in the hands of a lot of high profile players.

BODY: Queensland Maple core, selected Rock Maple or Victorian Blackwood top.
NECK: Queensland Maple or Rock Maple set
FRETBOARD: White bound Rosewood, 12 inch radius, 22 jumbo frets
SCALE: 25.2 inches
BRIDGE: TonePros nickel stop tailpeice and bridge
TUNERS: Chrome Grover
PICKUPS: Maton JHB, JHN
CONTROLS: 2 Volume (both w/coiltap), 1 Tone, 3 way toggle selector

LINK: Maton.com.au