Both records will be released at the same time, around May.

4 drummers so far, small orchestra and choir, 4 male singers, one female...

HOLY SHIT.

Almost all dev music has some form of heaviness to it, most people just restrict heaviness to its simplest forms. De-tuned guitars and being blastbeaten to death are awesome, but emotional heaviness has alot to do with a songs scale. Restraint and build contribute too, but the main thing is the soul behind it. Disruptr too me is heavier than some SYL shit, just from groove and seething frustration alone.
Deconstrutction im looking forward too, because i have no idea what to look forward too.

Me neither, I dont know that to fucking expect from decon....

Would 2 of those male vocalists be Dev and Ziltoid by any chance?

Well I hope it isn't all polyrhythms and open chugs, that's been done to death recently. I think that wall of hot sound has always drawn me in with both DT and SYL. Its the immersion into the music, how you're sucked into a thick shoal of texture, all going in one direction, and fluttering in others momentarily that keeps me hanging on. If its just 60 solid minutes of sheer brutality and dissonance I personally feel that immersive devy sound will get trapped in compression.

From the nuclear-blast similar to the "speed of sound" bit on Almost Again, and maybe a few moments of that sobriety and questioning like Polyphony or 3AM - I love the little samples, catching the odd word of a television broadcast, or someone having a conversation in the background - little nuances that give it that replay quality. I guess dynamics would play a big part in Deconstruction. Restraint and silence can make the heaviest riff even heavier. Intro to Sad but True, main riff to 5 Minutes Alone by Pantera, the little gap at the beginning of Heir Apparent by Opeth. Even scooping that volume knob and bringing it up, Distruptr style.

Just chucking ideas around, wonder what else people can hear in their head

[The Dev]

What you just expressed is what makes this one unique, it goes from 0-100 and everywhere in between.

What you just expressed is what makes this one unique, it goes from 0-100 and everywhere in between.

Any -5?

Will there be a song devoted entirely to 69?

Fantastic. I love the cross-referencing too, Judgement/Polyphony, Voices In The Fan/Color Your World. I'd love some ambient Hummer/DevLab moments.

Another thing, if you're considering another Ziltoid, would be hilarious to have him sticking out the bottom corner of the back of the inlay booklet - "HAHA SURPRISE!"

Any films planned on loop for recording this one? Jim Henson's Storyteller with John Hurt? Alien? Evil Dead 2?

Maybe Pete Sandoval?

Well I hope it isn't all polyrhythms and open chugs, that's been done to death recently. I think that wall of hot sound has always drawn me in with both DT and SYL. Its the immersion into the music, how you're sucked into a thick shoal of texture, all going in one direction, and fluttering in others momentarily that keeps me hanging on. If its just 60 solid minutes of sheer brutality and dissonance I personally feel that immersive devy sound will get trapped in compression.

From the nuclear-blast similar to the "speed of sound" bit on Almost Again, and maybe a few moments of that sobriety and questioning like Polyphony or 3AM - I love the little samples, catching the odd word of a television broadcast, or someone having a conversation in the background - little nuances that give it that replay quality. I guess dynamics would play a big part in Deconstruction. Restraint and silence can make the heaviest riff even heavier. Intro to Sad but True, main riff to 5 Minutes Alone by Pantera, the little gap at the beginning of Heir Apparent by Opeth. Even scooping that volume knob and bringing it up, Distruptr style.

Just chucking ideas around, wonder what else people can hear in their head

Excellent description dude.

I have so much in my head for Deconstruction and it's possibilities. I really hope to see Dev TRULY incorporate his Stravinsky influences in the context of the arrangements. Not songs for song sake, but MOVEMENTS. Music that flows from idea to idea like a stream of consciousness, yet it all sounds cohesive and related. Horrific and beautiful arpeggiating melodies. Alien sounding sonic booms/explosions...like that reverb on those "OHHH!!" hits on the bridge parts of the song "Addicted".

I also don't see many solid colors, more like intertwining, racing and mobile colors...like flying at light speed through space, watching all the stars/matter around you become spaghettified.

And to elaborate on the arrangement thing, I hear tons of different fever-dream melodies going on at the same time, all totally different from one another, but all theoretically making sense somehow...like a fugue. I dunno...I shouldn't get too carried away, but I can imagine for now, eh?

What I want are modular forms and elliptic curves! Infinite fire revolving around infinite parallels fractals of infinite reality, each cascading, gliding in an infinite wheel!

Alien was probably the most eclectic of Devin's heavier albums, so I'm expecting something most similar to that plus Ziltoid and a lot of stuff that's totally new.

Of course I'm not very confident in that assertion, that's judging form mainly the "Stand" demo. I think of all of these albums I'm looking forward to this one the most, not because I desperately crave SYL-like sounds, but because I honestly have no earthly clue what this one might sound like. Leave it to Devin to surprise you though while still keeping a strong grip on "his" sound.

When all four albums are out, does anyone else plan on just listening to all four together to hear how the concept works out?

[Octillus]

When all four albums are out, does anyone else plan on just listening to all four together to hear how the concept works out?

Yes. I've already done parts 1 and 2 together.