May 29, 2026
Devin Townsend "The Moth is about the journey—but it is also about arrival” – PipemanRadio Interview
Devin Townsend goes all out on new double-single ‘Prepare For War / The Big Snit’ Taken from ambitious, orchestral-metal opus The Moth
The Moth is about the journey—but it is also about arrival”
Canadian metal maverick Devin Townsend recently announced the long-awaited release of his ambitious, orchestral-metal opus ‘The Moth’, out 29th May 2026 via InsideOutMusic.
An album over a decade in the making, it existed in the back of Devin Townsend’s mind as his “life’s work”. Then, about six years ago, after an acoustic show in Amsterdam, Townsend was approached by the head of the North Netherlands’ Orchestra and Choir with an offer; and with that moment The Moth stopped being an idea and began to become a reality.
Today he is pleased to reveal another part of The Moth narrative in the shape of the visceral and heavy double-single ‘Prepare For War / The Big Snit’. Watch the video, directed by Studio Sparks, here: https://youtu.be/wdhwXKtVBR0
Devin comments: “This is a track that essentially acts as a ‘soundtrack for an unmade movie’ …if you think of it as a ‘song’ it’s not really going to work, but if you think of it as a cinematic ‘experience’ that is representative of the final moments before a ‘fundamental change’, it’s a cool adventure.
The name ‘The Big Snit’ was taken from a short cartoon from the Canadian national film board by the same name I grew up with. If you get a chance, look it up on YouTube … I guess my version here is simply a kind of heavy metal version of that :)”
Stream the single here: https://dvn.lnk.to/PrepareForWarTheBigSnit
If The Moth has a central gravitational theme, Townsend names it plainly: true self-acceptance. Something sturdier than slogans, closer to a practiced willingness to face what is uncomfortable without turning away. As Devin explains: “The most obvious metaphor for change within the concept of this project was a moth: from caterpillar to an entirely different creature—one so drawn to the light that it burns itself away. What remains is immutable—only the spirit.”
At the hardest moments, when abandoning the project might have seemed rational, Townsend points to the team as the decisive factor. A host of incredible musicians and contributors participated throughout the course of this process, as well as the North Netherlands Orchestra & Choir and orchestrators Joseph Stevenson & Niels Bye Nielsen. Long time band members Darby Todd, Mike Keneally, James Leach played a huge part, as well as guests including the Steve Vai, Anneke van Giersbergen, Lynn Wu (Ou), and artists Travis Smith & Eliran Kantor, plus key creative consultation from Mike St-Jean. The technical teams that worked tirelessly included co-mixer Chris Edrich, recording engineers Ben Searles & Jacob Hermann, Atmos mixer Ron Searles, Mastering engineer Troy Glessner, choirs in various countries throughout the world, and peripheral individuals that helped land this behemoth of a plane.
DEVIN TOWNSEND online:
https://www.hevydevy.com
https://www.facebook.com/dvntownsend
https://www.omerch.com
https://www.patreon.com/cw/DevinTownsend
https://twitter.com/dvntownsend
https://www.instagram.com/dvntownsend/
https://www.tiktok.com/@dvntownsend
https://www.youtube.com/user/poopynuggeteer/featured
https://twitch.tv/devin_townsend
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WEBVTT
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Hi, you love don too censure wow for you young.
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This is the Pipe Man here on the Invention's Pipe
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Man W four c Y Radio. And I'm very excited
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about our next guest because there is music dropping tomorrow
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that is like so badass I can't even believe it.
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So let's welcome to the show, Devin Townsend. Now are you.
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I'm good, buddy, Thank you for having me on.
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Oh My Pleasure, or as you're probably better known as
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pissy pants.
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Man mayor of Groovytown. I love it. I love it.
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Not a title that that one should sniff that man,
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it takes a while to to reach that echelon.
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That's right, that's right.
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So I gotta tell you, I was listening to the
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new album Them, you know before it comes out, and
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oh my god, I felt like I was in a
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heavy metal, pink Floyd cinematic movie.
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Yeah, yeah, man, I think I think the objective for
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the Moth was essentially like like sort of like an
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audio cinema. That it's like we're trying to make a
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soundtrack for a movie that doesn't exist, I guess in
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a sense. So I appreciate the acknowledgment of that. Man.
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Well, you know, It's funny because before I even read, like,
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I read something, but before I ever read it, I'm like,
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you know, after listening to music, I'm like, I was
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going to ask you when's the movie going come out?
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And then I read something that said it's basically.
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Like an unnamed movie. So it was like, the music
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definitely sends that message.
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Yeah, I appreciate it. I think that the main the
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main objectives for any record that I have done throughout
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my career, and specifically this one is too too as
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accurately as as possible described through sound like a period
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of time, right, like, yeah, in the past couple of years.
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I mean, I don't know what your past couple of
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years have been like, but uh, it's been a little.
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Chaotic, and it is a bit chaotic in a lot
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of ways.
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So as a result of that, my typical way of
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writing music has always just been like, whatever goes in
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is going to come out right, And so having had
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such such a chaotic few years, man, it's it's of
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no surprise that that the music is as is as
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over the top and strange as it is. But again,
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the primary objective is to just be as accurate to
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the vision as possible. So in that regard, yeah, that's
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exactly what it needed to be well.
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And to me, music is the best therapy and it's
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got to take you on a journey, and I think
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we're kind of missing that in a lot of new
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music these days because of people's attention span. They make
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shorter songs and it's all singles and there's like no
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flow to it. That's why I mentioned the Pink Floyd factor,
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because like you listen at Darkseide, you go somewhere else, okay,
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and you escape all the chaos. And I had that
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same feeling listening to your new album. It was like,
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I'm just on a journey somewhere.
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You know.
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Well, we're certainly all on journeys, right, And I think
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that the journey for me is it included all this
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work that I've done up to this point. And I've
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said in a couple interviews so far that there's in
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my mind at least a distinct before and after of
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the Moth, and moving forward there will be all the
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work that I had done prior, like the Strappings and
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the Kingdoms and the Zeltoids and all that. And then
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there was this weird gray pylon in the road, which
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was the moth and then after that it's it's now
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in a state of okay, so what's the next phase
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for you? And not necessarily even on a musical level,
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just like as a person, like where did you land?
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Like where are you? And I think that if I
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ever had any advice for any musicians that are up
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and coming or younger musicians that maybe are looking to
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the career that I've had, as you know, what would
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you do? It's like you just have to be doggedly
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in service of wherever you find yourself. And you know,
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these things turn on a dime, like life changes, a
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loss of friends and money and all these things that
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go into it. It's you can't predict what is going
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to happen with your life. But as an artist, I
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think that the primary objective is like allowing your creative
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catalyst to sort of go and whichever direction that seems
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to like I want to go. And you know, I
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think for myself over the years, the amount of times
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that I've started a project in one place and then
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ended in another is like eighty percent. And it's always
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been to the chagrin of the record labels and whatever
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they're Like you said, this was going to be an
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easier record, said this was going to be this, and
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I'm like, I know, but the circumstances had something else
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in mind, right, So.
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I think that's what makes you a true musician, to
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be honest, because like I remember when I was playing
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guitar as a teenager and I did suck, but my
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dad used to say, like, you should give that up.
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You don't even know what you're doing. And what I
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was doing at the time, I was saying, I was
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just like experimenting what sounds I could make it do,
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not like copy everybody else.
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I just wanted to experiment.
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And that's the vibe I got while I was listening
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to him, like, oh man, that's something that I think
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we need coming back and is starting to come back.
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Is that musicianship where you're experimenting and not just doing
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some cookie cutter thing to put something out there.
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Yeah, it's it's a it's a risk though, you know
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what I mean. It is it's like, uh, you know,
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specifically when the visions in the scale of those visions
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are as large as they tend to be with me,
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it's like every time you do something, it costs you everything, right,
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and uh, to be willing to sort of put that
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sort of attention and focus onto ideas that are really
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not commercially viable is always been where my interests lay.
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And it's it's it's you know that I've been doing
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it for so long now that I'm just like, I
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just keep pushing that as far as I can go.
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It's it's when somebody had said, you know, what's the
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objectives of like what you're doing with your company or
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with your record label and all this, I'm like, well,
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tell you what it is. It's like, I like putting
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together a bunch of brilliant artists who are maybe bored
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with their normal jobs and you know whatever. It is
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like taking the wrinkles out of Jim Carrey's neck for
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number two or whatever, right like, and then see like, well,
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let's apply that same kind of ferocious intent onto something
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that's just like abstract in nature. And that's always been
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where my interests lie. It's like, well, what can we
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do that's creative, interesting and fun, that is rooted ultimately
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in experimentation. It's it's like it's always been sort of
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where my interests lie. And it's in some sense it's
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a shame that that my interest never lay in like,
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you know, what would be the best pop song that
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we could write, or what would be the most would
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be the most linear pathway to another heavy metal record.
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It's like these things make a lot more sense in
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twenty twenty six in the music industry as opposed to
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let's just bury everything into this abstract, you know, orchestral
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thing about the changing tides of my life personally and
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life in general. Dude, it doesn't make any sense to
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do something like this, but it's what I want to do.
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So that's what we do and until such time that
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we can't, And that's just what I do, you know,
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And that's what my brand, I guess represents.
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I think it should be that way.
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I mean, I've always said, like, let the creativity be
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for the artists and the business end be for the suits.
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And I've been on both sides of the fence. But
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I remember back in the eighties. I was in LA
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in the eighties and a lot of my friends they
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were getting signed and these record labels were telling them
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how to change their music and change her look.
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And I was like, yeah, no, I'm out. I'm out.
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That's why I didn't get good at guitar because I
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was like, no, I wouldn't want to do that.
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I would want to be true to me, and you're
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being true to you.
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I am. And I think that the you know, the
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practical realities of it are the things that are the
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next step for me, because you know, I've got a
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staff of people, and we've got mortgage and studio and
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all the lights to keep on and all that, and
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you you get to a point, I think at a
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certain at a certain stage where you have decisions to make.
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It's like in order to take certain steps, it's like,
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you know, you can be asked to do this, like
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whatever it is, like something that maybe compromises what your
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intent is or maybe put you back in time doing
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things that you've been over for a long time. Regardless
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of what it is. Dude, it's like those options become
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like like practical considerations. At some point you're just like, okay,
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we can't continue like this, so do we do this
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or whatever? And at that point, my whole reason to
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be has been sort of contingent on that moment. But
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it just keeps moving forward. You know. It's like it's
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like I'm just like, Okay, I'm going to do this,
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and by doing this, I'm never going to be able
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to do this again. So there's been the amount of
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times that I've chosen to go that route, whether it
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was strapping back in the day or ziltoid or EmPATH
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or dream piece or whatever, that frame of mind has
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been like a big part of my trip. And every
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time I do that, I'm like, Okay, damn the torpedoes,
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let's do this, and then by this time next year
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we'll probably be broken. We'll have to like quit. So
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that's but you know, it's been thirty eight years of that, and.
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So you're still here.
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So the only thing that is also still here that
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I would like to see go away is that constant
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sort of amber alert anxiety feeling of like, yeah, the
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ass is going to fall out of everything, right. But
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I will say that I'm not alone with that feeling.
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I'm sure most of us feel that at this point.
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So I think that for me, the decisions to make
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these things that are rooted much more and like you know,
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frankly sort of selfish artistic musings. I figure, Man, if
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we're going to have to do this anyway, I might
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as well just do the things that I want to do,
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as you know, utilizing all this stuff to just essentially
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have a day job that I don't care.
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About, right yeah, And I mean that's why I say,
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if you're going to be an artist, you might as
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well be true yourself and and then you're going to
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attract your tribe. You know, you're going to attract the
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people that appreciate and understand or get something out of
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what you're doing.
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That's the hope. And I and I would much rather
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have a smaller, uh group of those than than you know,
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a larger group of people that I'm beholden to for
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things that I no longer am interested in, right So so,
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but I mean, do these shade these choices are are
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ones that are not ones to be taken lightly. And
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and also they're not ones that that happens so far
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under the surface that you're not aware of them. Right Like, Like,
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whenever I've made a decision to go and in in
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uh in a direction that's like you know, fiercely non
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you know, friendly, it hasn't been one that I was
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an accident. It was like, okay, you can do this
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if this is what your choice is. And I've chosen
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to do that consistently but no more so than I
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have with Moth, almost to draw a line in the sand.
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It's almost like, you know, if by doing this industry
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at large, it's like, yeah, it's not for us, it's
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not for any part of the industry, including your demographic
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Right at that point, I know that the decision I
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need to make moving forward is like, Okay, well do
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you still want to do this, because it's like, well,
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this won't work. But if you go back to i
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don't know, like playing metal full time in your mid
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fifties or whatever, then you can kind of sustain this.
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There's a part of it. It's just like, oh, well
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there's my decision. Then yeah, you know, but I think
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that the only way you're going to be able to
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make a decision like that is to sort of damn
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the torpedo.
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And do it. Yeah, no risk, no reward.
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Well this is it. So basically I built a facility
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and did the Moth and did Ruby Quaker and did
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