Devin Townsend links success to the ‘Mask Thing’

When a musical duo explodes onto the scene with viral appeal, it often sparks more than just applause—it ignites debates about taste, spectacle, and what we define as “good” art. The emergence of Angine de Poitrine, known for their distinctive microtonal alien math rock, quickly drew attention, but it also attracted some significant friction from the wider music community.

This clash of perspectives became particularly evident when Vancouver metal musician Devin Townsend weighed in on the phenomenon. In a recent interview, Townsend was asked for his take on the duo, and his response revealed a perspective that challenged the immediate hype surrounding the artists.

Townsend found himself wrestling with the novelty of the group’s aesthetic. He admitted that while he acknowledged their talent, he remained irritated by what he perceived as superficiality. The core of his critique centered on the visual element—the use of clown noses—which he described as a distraction.

“It just makes me crazy because it’s the mask thing,” Townsend explained. He suggested that much of the attention the duo received stemmed not from inherent musical quality, but from the novelty of their appearance. He pondered whether the public’s approval was based on the music itself or simply the spectacle.

Despite his reservations about the visual presentation, Townsend conceded that many people strongly recommended listening to Angine de Poitrine after hearing them on the KEXP session, which brought them to international notice. His view remains tempered: “My perspective on it is only that I’ve been irritated by it so far. But there are people in my life who are close to me who say it’s very good. So please take my assessment of it with a grain of salt.”

Interestingly, the discourse sparked by Angine de Poitrine prompted a broader reflection on artistic value. While some found the duo gimmicky, others argued that their aesthetic approach offered a compelling commentary on the artifice inherent in performance itself. This conversation effectively blurred the lines between highbrow and lowbrow art, suggesting that the pursuit of genuine feeling can exist side-by-side with theatrical presentation.

The story of Angine de Poitrine is more than just a music trend; it is a case study in how we process novelty. It reminds us that what captivates an audience often depends on a delicate balance between skill and spectacle, pushing musicians and listeners alike to redefine their standards for creative expression.