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Tech/Extreme Prog Metal • Canada

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Voivod biography
Formed: 1982 in Jonquière, Quebec, Canada.

VOIVOD formed in 1982 as a fairly straitforward metal band, favoring the British Metal end of the spectrum. After a few years their sound took a major turn to the progressive side, incorporating futuristic imagery and unified concepts for albums. Two of the four founding members (bassist Jean-Yves Theriault and vocalist Denis Belanger) left Voivod in the early 90s; the band continued as a trio in the late 1990s with new member Eric Forrest handling both vocals and bass guitar. Forrest was badly injured in a car accident in Germany in 1998, and Voivod briefly disbanded in 2001 before Belanger returned to the band. Since the death in 2005 of Denis D'Amour (guitars), the current incarnation features two of the four founding members: Denis Belanger (vocals), and Michel Langevin (drums) along with Jason Newsted (of Flotsam and Jetsam and Metallica) on bass guitar. They rank alongside DREAM THEATER as pioneers in the development of progressive metal in the 80s, but tend to favor a heavier and more sparse musical style more akin to QUEENSRYCHE. Keyboards (or any other instruments besides vocals, guitars, drums, and bass) are almost non-existent in the music.

Their first truly progressive album was "Killing Technology" (1987), followed by "Dimension: Hatross" (1988) which is often considered their most innovative work. "Nothingface" (1989) continued on the science fiction theme, and featured a cover version of PINK FLOYD's "Astronomy Domine" (They also covered PINK FLOYD's "The Nile Song" on their 1993 release "The Outer Limits"). "Angel Rat" (1991) is also well-regarded in progressive metal circles. They continue to record and tour, and have been seen on the Ozzfest roster a few times.

If you like your music heavy, dark, and cold with a pronounced sci-fi flavor, VOIVOD is essential. They are worth checking out for the PINK FLOYD cover songs alone.

James Lee, USA

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VOIVOD Videos (YouTube and more)

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Buy VOIVOD Music

Rrröööaaarrr (Deluxe Expanded Edition)(2CD/1DVD)Rrröööaaarrr (Deluxe Expanded Edition)(2CD/1DVD)
Noise Records 2017
$11.13 (used)
Killing Technology (Deluxe Expanded Edition)(2CD/1DVD)Killing Technology (Deluxe Expanded Edition)(2CD/1DVD)
Noise Records 2017
$11.19 (used)
Angel RatAngel Rat
Imports 2018
$7.00 (used)
Nothing FaceNothing Face
Imports 2018
Linus Entertainment 2005
$12.96 (used)
Linus Entertainment 2005
$26.13 (used)
War and PainWar and Pain
Metal Blade 2018
$25.86 (used)
Surfdog Records Ada 2003
$9.95 (used)
The End Records 2006
$1.64 (used)
War and PainWar and Pain
Deluxe Edition · Remastered · Extra tracks
Metal Blade 2004
$9.49 (used)
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VOIVOD discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

VOIVOD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.01 | 76 ratings
War And Pain
2.55 | 72 ratings
4.03 | 138 ratings
Killing Technology
4.26 | 171 ratings
Dimension Hatross
4.27 | 259 ratings
3.84 | 128 ratings
Angel Rat
4.15 | 129 ratings
The Outer Limits
2.38 | 61 ratings
3.02 | 60 ratings
3.09 | 63 ratings
3.11 | 62 ratings
3.17 | 49 ratings
3.89 | 82 ratings
Target Earth

VOIVOD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.17 | 17 ratings
Voivod Lives
3.29 | 12 ratings
Warriors of Ice
3.50 | 4 ratings
Live At Roadburn 2011

VOIVOD Videos (DVD, Blu-ray, VHS etc)

3.47 | 15 ratings
4.00 | 2 ratings
Tatsumaki - Voivod Japan 2008

VOIVOD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.41 | 8 ratings
The Best of Voivod
2.06 | 15 ratings
4.00 | 3 ratings
To The Death 84

VOIVOD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.00 | 3 ratings
4.00 | 2 ratings
To The Death
2.50 | 2 ratings
Morgöth Invasion
4.00 | 4 ratings
Thrashing Rage
4.40 | 5 ratings
5.00 | 1 ratings
Astronomy Domine
5.00 | 1 ratings
Into My Hypercube
5.00 | 1 ratings
The Lost Machine
5.00 | 1 ratings
Fix My Heart
5.00 | 1 ratings
The Nile Song
5.00 | 1 ratings
0.00 | 0 ratings
Live at MusiquePlus
0.00 | 0 ratings
We Carry On
4.20 | 5 ratings
We Are Connected
3.56 | 15 ratings
Post Society

VOIVOD Reviews

Showing last 10 reviews only
 Nothingface by VOIVOD album cover Studio Album, 1989
4.27 | 259 ratings

Voivod Tech/Extreme Prog Metal

Review by Luqueasaur

5 stars Farewell, thrash my love... for I now am progressive: 9/10

Beginning with the simplicity of speed metal, the Canadian band VOIVOD developed a lot through its musical journey, being able to output something as complex as NOTHINGFACE. It is certainly less abrasive than its predecessor, DIMENSION HATR'SS, yet, simultaneously, harbors a much more technical style. This happens because NOTHINGFACE is more equally balanced on its progressive and thrash metal proportions, differently than its predecessor which visibly weighs to the latter's side.

In fact, this is VOIVOD's most significant release for the fact it demarked the band's entrance into progressive metal properly. Easily observable materialistically: fluid shifts of time signatures and intricate rhythms permeate the album; experimentative usage of dissonant chord progressions - which have always been the band's watermark - is intensified; a crystallization of VOIVOD's unique storytelling, coupling it with unusual song structures; there is even a track influenced by the Igor Stravinsky's THE RITE OF SPRING. Technicality? Check. Experimentation? Check. Unconventional song structures? Check. Classical influence? Check. Objectively, NOTHINGFACE is progressive.

Departing from this satirical "objectivity" analysis and going to more subjective waters, I'd say that VOIVOD in certain aspects reminds me of MEGADETH. Both initiated their trajectory as speedy and abrasive bands; both developed - especially on a technical level - astoundingly and were important enough to be part of a "Big Four"; both have two magnum opuses (PEACE SELLS/RUST IN PEACE and DIMENSION HATR'SS/NOTHINGFACE) where the first is rawer whereas the second is more polished and widely revered as superior, and both bands kick ass like hell. I consider both bands' first magnum opus better (I like their crude aggression). Both vocalists have pretty similar timbres but, unlike Mustaine, Denis B'langer actually knows how to sing (not like this makes him better, I love Mustaine's sloppy and ducky vocals) and in many moments seems to mimic the American thrasher. Both second magnum opuses offer legendary and catchy riffs but, unlike MEGADETH, VOIVOD's have an absolutely lackluster amount of solos and when they happen are weak (it sounds like alternative metal at best, Denis. Where's DIMENSION HATR'SS' shredding and spectacular harmonic pinching?).

Aside from the scarce amount of solos, another complaint I found whilst listening to NOTHINGFACE is that, in a certain way, the songs sound a little too similar. I think the issue lies in melody because rhythmically/structurally/lyrically they are individually unique and easily distinguishable from each other.

But hell even this wasn't enough to prevent me from headbanging vigorously to NOTHINGFACE's several anthems like I didn't do in a long, long time. If you're looking for quality, slightly eccentric, technically impressive (impressive, not mind blogging) and mildly extreme metal, look no further. NOTHINGFACE, which lies in the frontier between progressive and thrash, will suffice to appease your thirst - and make you headbang like a nut.

 Killing Technology by VOIVOD album cover Studio Album, 1987
4.03 | 138 ratings

Killing Technology
Voivod Tech/Extreme Prog Metal

Review by FragileKings
Prog Reviewer

4 stars The elixir that Voivod concocted in the late eighties might be rejected by some for being distasteful, too caustic, too alkali to swallow. For others, however, Voivod's three releases between 1987 and '89 are an intoxicating brew. Hailing from Quebec, a bastion of progressive music in the seventies, and being fans of hardcore punk and heavy metal, Voivod created their own unique sound in heavy metal. While bands were becoming darker, heavier, faster, more technical or more polished and slick, Voivod smartly sat upon their own vision of sound and dropped "Killing Technology" in 1987, a very surprising follow up to their speed/trash sophomore album, "RRROOOAAARRR".

From the first song, the title track, the band flies right in the face of metal expectations with a high-toned, garage band guitar sound and speedy riffing that resembles a chicken clucking. Though there are heavy chords and passages to be found on the album, guitarist Piggy (Denis D'Amour RIP) often chooses to go for a higher-tone guitar sound rather than blast us away with doom and thunder. Given that much of the song themes are about science fiction, this metallic sound sits very well. In fact much of the music is easier to imagine being played inside a cramped and unkempt, scavener/pirate type space vessel than seeing the band perform back here on the good green earth.

Denis "Snake" Bélanger delivers the vocals of a hardcore punk singer in a speed metal environment but there's a human side that is screaming through the mechanical environment of the ship's interior pictured on the cover. He packs such energy in his delivery and simultaneously infuses that human punk theatric in his barks and bellows. I really find his vocal work entertaining.

The song lyrics often sound like a B-grade sci-fi movie. I guess it can't be helped as the band members are all francophones and doing their best to write songs in English. But then again, maybe that B-grade sci-fi impression is what they were going for. It does give the album a charm and appeal.

One of the incredible things about this album though is the prog element. When I heard this in 1987, I had no idea about progressive rock. I knew only metal. But these songs were doing so many things differently and some of the weird chord changes, time signatures, tempo changes and what not captured my attention even if I didn't understand it. It sure doesn't sound like what you'd normally expect when you think of prog metal from the eighties or from any time for that matter. Voivod are unique to be sure.

I love the bass! Jean-Yves "Blacky" Thériault always gets his bass feature on at least two songs during this period of Voivod's career and you can hear it abruptly jump in on "Tornado" and "This Is Not An Exercise" and open "Overreaction". The drumming is overproduced and the production unpolished, but again it works to the benefit of the atmosphere.

Favourite songs of mine are "Order of the Blackguards", "This Is Not An Exercise", the title track, "Ravenous Medicine", and "Forgotten In Space", each of which have something in them I love to hear even 30 years later. The vocals, the themes, the outlandish guitar chords and riffs, the bass, the drumming, they all make this a memorable album for me. I'd personally rank this a full five stars but it's true that not all the songs are out-and-out winners and so I'll temper my excitement and give it four.

 D-V-O-D-1 by VOIVOD album cover DVD/Video, 2005
3.47 | 15 ratings

Voivod Tech/Extreme Prog Metal

Review by Tapfret
Special Collaborator Eclectic & C/JRF Prog Team

3 stars This DVD is a pretty typical retrospective compilation of concert footage and music videos. It has a little good, a little bad, and a lot of nostalgia. Released approximately 2 months after guitarist Denis d'Amour lost his battle to cancer in 2005, it is comprised primarily of material from the band's progmetal pinnacle 1987-1991. There are a couple of purely thrash era videos, but the focus era is clear.

The good (I suppose this is the nostalgia part as well): As already stated, the target era is what most prog fans of the band consider the sweet spot. The largest single section of live material features 4 songs from Nothingface performed live at Montreal's Musique Plus. Oddly enough, the cover of Astronomy Domine, though the music video is featured later. Five additional of full songs from three other concert clips are featured. It gives an excellent cross section of the bands evolution from thrash band to scifi progmetal pioneers. Also included are six music videos with three included sets of footage from the video shoots and recording sessions. One of the included music videos is Psychic Vacuum from Dimension Hatross. Prior to seeing this DVD I was unaware of its existence. A very surprising MTV era video due to its extreme dissonance.

The bad: A sadly predictable drawback of the era featured is the technology used in the live recording. At the time Voivod was not a big budget act. It is unfortunately reflected in the quality of the sound. The weird part is the DVD has a 5.1 mix. If they did clean the sound up, I shudder at the thought of the source quality. In all fairness, most of us around that time were lucky to even have stereo sound coming from our TV's, so little would be noticed if these were recorded on the most cutting edge equipment of the day. The other aspect is the videos are themselves a bit campy when the music does such a fine job of imagery creation in its own right.

As a Voivod fan, I consider this an essential retrospect. Even for someone who is a progmetal history aficionado DVOD-1 would be an good addition to a video collection. For everyone else, its probably not a good starting point for Voivod's work due to the lacking sound quality. Fun nonetheless. So legitimately, good, but not essential. 3 stars.

 Phobos by VOIVOD album cover Studio Album, 1997
3.02 | 60 ratings

Voivod Tech/Extreme Prog Metal

Review by Tapfret
Special Collaborator Eclectic & C/JRF Prog Team

3 stars "I just picked up Phobos, its just like Negatron!"
"Thanks for the warning."
"What do you mean by that?"

Despite the warning, something made me go ahead and purchase it from the $3 used rack. This was after the abomination that was Negatron, knowing that the line-up had not changed. Well, I'll be honest. The key selling point was the 21st Century Schizoid Man cover. Having heard them cover 2 Pink Floyd tracks that I didnt really care all that much for as originals, I figured the chance of hearing what Piggy could do with a true prog anthem was worth the $3. I was not disappointed.

I cannot put my finger on it. Either it was the overall music structure that made Eric Forrest's vocals more tolerable on Phobos, or perhaps he settled in and chemistry improved. Pound for pound, his vocals are really no different. There appears to be a slightly different approach to recording him than on Negatron. That is, he appears to be mixed thin. Most of the time he sounds like he is singing through a transistor radio. works! Consider communication on any moon in our solar system, such as is Phobos. Likely to be radio communication, right?

Where Negatron was just an amorphis, chunky pile of metal, Phobos actually moves in different directions in an allusory manner. And the ubiquitous sci-fi themes now have symbiosis with the music. The recording lacks clarity for sure, but it is largely made up for by the interesting song structures and ominous textures. And the drums no longer have the clicky bass.

Finally, we arrive at the coup de grace, the cover of 21st Century Schizoid Man . I have heard complaints that Voivod does nothing innovative with the song. Well, sometimes you just play the song, you play it well, and that is enough. And Voivod does, very well. Not a streamlined, watered-down radio edit. They rock it. And if that was ever a time that Eric Forrest's vocals shined, it was on this cover. This is an album that I rather enjoy. I understand that it does not carry the sound quality that would keep many listeners happy, and while I find Eric Forrest's voice to work much better with this album, it would likely still annoy others to no end. Therefore, 3 stars. Good, but if you think it sucks, I understand.

 Negatron by VOIVOD album cover Studio Album, 1995
2.38 | 61 ratings

Voivod Tech/Extreme Prog Metal

Review by Tapfret
Special Collaborator Eclectic & C/JRF Prog Team

1 stars In my review of Voivod's The Outer Limits I equated the big sell on the packaging to seeing an ex and running off to the sack for a romping revisit to the glory days that ultimately was a little different, but satisfying. Well, as it turns out, I was drunk, and went to bed with The Outer Limits, but then I woke up with Negatron. Now, before I get beat up too much for my analytical objectification of what you are correctly assuming is the analogy of a female, be aware that I am self-delegating an appropriate punishment. Yes, I am actually getting drunk and climbing back into bed with Negatron, again. This time I am looking her in the eye. And you know what? This was a terrible idea.

First off, lets do just that, look Negatron right in the eye. By the eye, I mean the cover. See that robo-ant. Even the ant has no idea what's going on. That robo-ant (it occurs to me, that robo-ant *is* Negatron) with its shizzlebytes of memory and espialagogahertz of processing power is still oblivious. Seriously, look closely at the attached picture of the cover. He is absolutely doing this guy:


And what is more metal than an "I-dunno-shrug robo-ant"?...oooooh, wait! I just got it! I dunno=Negative response=Negatron.

Well, its entirely possible Negatron the robo-ant doesn't know what is going on because he is receiving his verbal instructions from new Bassist/Vocalist Eric Forrest. Now here is a guy with some big shoes to fill. Both Denis "Snake" Belanger and Jean-Yves "Blacky" Thériault replaced by a single robo-ant confusion specialist. With his two screaming volumes of "on" and "more on", he is impossible to understand at times, and impossible to not understand the rest of the time. Mostly, he's just impossible.
The sci-fi approach so familiar to our favorite Canadian cyber-punk-punk-metallers is obviously there. Negatron the I- dunno-shrug robo-ant is not just sexy, he's sci-fi, and he is metal. That much we can re-assure him of. Its how he's drawn.What we can't reassure him of is that anything about the music conveys the sci-fi theme. It is 90% straight forward metal. There are moments of Denis d'Amour's sinister dissonance, but it misses the mark on pushing the sci-fi agenda. Any lyrics from emo, to black metal, to gangsta rap to country and western-tear-in-the-beerisms could be thrown in, it would make just as much sense. Other confusion ensues with the drum recording. Through much of the album it sounds like the drum track was lifted straight from the master tapes of Metallica's ...And Justice For All. Bass drums are not supposed to go "click-a-click-a-clickity-click". Oh outrageous fortune! Is this the harbinger of the band's eventual attempt of fixing everything by adding Jason Newstead 5 years later?


It is hard to understand how things went so wrong, so quickly. The session bass player on The Outer Limits was proficient and didn't degrade the the presentation at all. Its unfathomable that Denis "Snake" Belanger was such an important force in the character of the band, but it is the only variable outside of the producers and studio. Whatever the case, what occurred on Negatron applies some perspective on Angel Rat, another of my least favorite Voivod albums. There was at least an understandable logical progression to that point. Negatron is like a Star Trek transporter accident. The matter is just randomly scattered on arrival. It earns the coveted 1 star. And I've earned 600mg of ibuprofen.

 The Outer Limits by VOIVOD album cover Studio Album, 1993
4.15 | 129 ratings

The Outer Limits
Voivod Tech/Extreme Prog Metal

Review by Tapfret
Special Collaborator Eclectic & C/JRF Prog Team

4 stars Following the lackluster descent to Angel Rat from the twin crowns of Dimension Hatross and Nothingface, there was, in this writers opinion, nowhere to go but up. The sci-fi-prog-punk-space-metal band from Quebec had seemingly gone to great lengths to "normalize". There was now a shift to recapture there stellar form. Still without a full-time bassist, and now without all-world producer Terry Brown, they seemed to have their work cutout for themselves.

The first time I picked up this album at the record store shortly after its release, I was dubious. I had been so disappointed with Angel Rat I didn't see how the band would redeem themselves. The first impression was amusement at the 50's era b-movie poster cover art and logo, then intrigue when I noticed the sticker on the outside wrapper that said "3d glasses inside". Ok, this fish noticed the bait, could they set the hook? That's when I turned the CD over. I read to my buddy standing next to me.
"Hey, Jeff?"
"Jack Luminous, 17 minutes..."
Hook set. I mean really, to the 23 year-old self-assured seasoned progger a 17 minute song was a slam dunk, right? Well, whatever the case, the joy was back with Voivod. The Joyvod if you please. It was like seeing an ex out in public and seeing how amazing they are doing and suddenly wanting her again. And I got her home and undressed her and it was amazing...I mean...uh...I got the CD home and unwrapped it. The package was as advertised. Cardboard 3d glasses and a 3d drawing for each song. Drummer Micheal Langevin, as routine provides the art. And the music...well...

That's where you start to realize why you broke up with your ex in the first place. The opener, Fix My Heart, had a moment in the intro with a soaring, reverbed out guitar part that set the familiar Voivod space-metal tone. But the substance of the song was very reminiscent of Angel Rat, if a bit more driving.
[Blank stares] "Ugh, I need a beer!"
"I'll come with you"
"Damn, it was too much to ask for them to redeem themselves."
"I guess, so."
"I brought this movie called 'Profondo Rosso', I hear its pretty cool."[Track 2 - 'Moonbeam Rider' starts playing]
"Yeah, lets watch it...actually this sounds ok, lets give the rest of the album a shot"
The album then begins to take a much more progressive, contrasting feel that was lacking on Angel Rat. And Denis d'Amour's reinserts his sinister high register unorthodoxy, albeit still not dissonant as was his earlier trademark. But certainly haunting. Particularly on the quite parts of Le Pont Noir. His verse parts took on a renewed heavy drive, not to the extent of the bands genesis, but in start opposition to the ultra-restrained tone of the previous album.

Voivod appeared to be back, their ubiquitous sci-fi themes in tow. Complete with stories of space travel, alien society saboteurs, media hypnotism, and unseen stalkers. The big hook that was the 17 minute long Jack Luminous was a good piece sound wise, but as it turns out only had the story as the unifying theme. The song actually felt like four different songs with no recall or codas to tie it together. The real gems of the album were the haunting Le Pont Noir and the driving, sinister Lost Machine. Additionally, for the second time in their career they through in a Pink Floyd cover, Nile Song. And once again, not one of my favorite as an original, so I can take it or leave it.

The Outer Limits was a huge improvement over the disappointing Angel Rat, but nowhere near the epic masterpieces that Dimension Hatross and Nothingface were. This is an essential album to my collection, your results may very. I will ere on the 4 star side given the hideous next 15 years or so for the band.

 Angel Rat by VOIVOD album cover Studio Album, 1991
3.84 | 128 ratings

Angel Rat
Voivod Tech/Extreme Prog Metal

Review by Tapfret
Special Collaborator Eclectic & C/JRF Prog Team

2 stars Continuing through Voivod's discography we suddenly drop off dramatically from the pinnacle of the band's development that was manifested in their masterworks, Dimension Hatross and Nothingface. All the signs were there for a knockout release: An amazing concept album that was matched in quality and intriguing direction shift by it followup which actually saw the band acheive a degree of popularity. Then the band hooks up with producer Terry Brown, who produced the classic era of prog royalty and fellow Canadians, Rush. With continued major label (MCA) backing the stage was set for something secial. But the magic was not to be. Bassist Jean-Yves Thériault left the band prior to the release, which should have been a warning sign

The product ended up being a very bland output. Shorter songs, pedestrian beats, and a sudden shift toward a very generic chord use and song structure. The only growth that was readily noticeable was the most melodic vocal output from Denis Bélanger to date. But it was not enough to prevent a very uninteresting, lackluster album. Voivod's core story-lines of sci-fi and intrigue was still the motif, but the abandonment of the ritualized dissonance and obtuse rhythm changes distanced the music from the story. The entire project came off as an attempt to be more "accessible" to the alternative college radio crowd that had helped the band achieve the degree of popularity seen on Nothingface. If anything positive could be said of the project outside of Snake's melodicism, it was that the recording quality was top- notch. But it was at best only as good as Nothingface, and if it was in some regard better, it was not so much that one would say, "thank god they hired Terry Brown to achieve this amazing quality".

Angel Rat isn't a "bad" album. It just isn't a good album in the context of what might have been for Voivod. And things would flounder as the years went by with ok, to not so ok, to downright bad albums. It would be 22 years before the band would produce anything close to what they accomplished with Dimension Hatross and Nothingface. There are many who hold Angel Rat in very high regard. I am not one of them. 2 stars.

 Nothingface by VOIVOD album cover Studio Album, 1989
4.27 | 259 ratings

Voivod Tech/Extreme Prog Metal

Review by Tapfret
Special Collaborator Eclectic & C/JRF Prog Team

5 stars After going full frontal prog with the outstanding concept album Dimension Hatross, Voivod took another opportunity to tweak their game. Keeping up with the sci-fi theme that had served them so well to this point, they would break almost completely from their thrash metal roots. Well, at least the thrash part. The new formula would lead to the widely acclaimed Nothingface, their most popular release and resident of US college radio top 40 charts in late 1989-early 1990.

From the word go it is obvious Voivod had a far better budget for recording. The thrash sound of the 2 previous albums was accompanied by heavy reverb. Nothingface pulled the sound closer to the listener. The thrashy beat speed is evident on the opener, The Unknown Knows, but gives way on the rest album to a very eclectic rhythm library that play more junctional beats to the overlying guitar riffs. Dennis D'amour's guitar playing, while remaining unorthodox and routinely atonal, tends to be more melodic, arpeggiated and exploring broader chord extensions than at any other point in Voivod's discography. Jean-Yves "Blacky" Thériault maintains his "blower bass" style, but sounds more defined within the recording. Vocally, Denis "Snake" Bélanger continues to bring what I call his "apocalyptic town crier" vocals to the party, this time appearing a bit less monotone than before.

The overall impression remains high energy, but presents a much more sophisticated instrumental interplay than other Voivod material. The highlight for many, otherwise a sidelight to me, is the inclusion of Pink Floyd cover, Astronomy Domine. This was likely the piece that propelled the album to the heretofore unseen mainstream popularity. As I was not a particular fan of the original, I can take it or leave it. That being said, it was cetainly a more than proficient rendition.

Nothingface and its predecessor, Dimension Hatross, will always stand out as game changers in the prog metal scene. And game changers for the band themselves. While so many rising stars from the thrash metal scene were flaming out, Voivod was carving a niche for themselves as true progressive metal originals. Nothingface is the second consecutive (and last) masterpiece for a unique band among their contemporaries. 5 stars, absolutely essential.

 Dimension Hatross by VOIVOD album cover Studio Album, 1988
4.26 | 171 ratings

Dimension Hatross
Voivod Tech/Extreme Prog Metal

Review by Tapfret
Special Collaborator Eclectic & C/JRF Prog Team

5 stars The flower that is Progressive metal was in its first full bloom in 1988. Its petals many different colors and textures. One of the more unique petals reached out from Quebec in the form of Sci-fi/comic book-esque thrash metallers Voivod. After a decided shift in their approach to thrash metal to a more unorthodox thematic and stylistic production with Killing Technology, the predecessor to Dimension Hatross, the latter takes the change to the next level with a full-fledged sci-fi concept album.

Thrash metal had already reached its crest by this time. The predominant style was obviously fast, heavy and with the standard of root/5th power chords. Guitarist Dennis "Piggy" D'amour made a name for himself by leaving the power chords behind for a lowered 5th that created a dissonant, almost RIO texture to his guitar work. This helped enforce the spacey sci-fi themes that were incorporated into Killing Technology and would define the sound of Dimension Hatross. Coupled with the unmistakably punky thrash grinding rhythms and the grouchy overdriven bass of Jean- Yves "Blacky" Thériault, the sound was rolling thunder. This was a perfect fit for the conceptual theme of a microspopic universe created in a particle accelerator, a profoundly deep concept for a band born of a genre that was better known at the time for its pentagrams and painted witch faces. The story itself is formatted in a classic screenplay style with quality scene setting, character development, protagonist/antagonist, conflict and resolution. Each movement of the concept calculated with music that uniquely conveyed the scene.

Voivod is a band that has had its ups and downs. But it is undeniable that they took thrash metal in a direction it had not gone and created yet another path for prog metal with Dimension Hatross. And they did it without an opulent budget. This is one of the true originals of the sub-genre and a genuine masterpiece. 5 stars.

 Post Society by VOIVOD album cover Singles/EPs/Fan Club/Promo, 2016
3.56 | 15 ratings

Post Society
Voivod Tech/Extreme Prog Metal

Review by aglasshouse

4 stars The Odd Voivods are back with a gargantuan EP, titled Post Society.

Unlike most other bands, Voivod hasn't really lost much momentum as the years have gone by. Owe this to the uniqueness of the band's sound or influence or what you will, but no matter the reason Voivod hasn't (at least to my perceptions) had a dip in stamina.

A lot has changed over the 32 years following the band's debut; Voivod's blurring of the lines between progressive and thrash metal has made fruition of countless genius ideas that seldom other bands have even considered. So with all this taken into consideration- how is their new EP?

For one, Jean-Yves Thériault has been replaced after three decades, instead taking his place is Dominique Laroche. Rocky's metal repertoire is scarce, however he has played for blues musician Steve Hill. Other than that the lineup remains unchanged. Music-wise, Voivod goes back to their roots. The progressive inclinations of prior albums like Nothingface or The Outer Limits are a bit less prominent as they once were. Instead, what Post Society really is is a thrash metal release. This isn't really surprising when looking at Target Earth, an album that was very much just thrash-oriented. The only truly progressive song on this album in my opinion is that of 'Polluted Alcohol', an epic that goes through a variety of different stages in real Voivod fashion. Combine this with the classic monotone vocals of Snake, then you've got a song for the ages. The other songs are good too, but like I said they're all more run-of-the-mill thrash songs (which might I add is not in fact a con) which might be enjoyed more by others. Other than that the Hawkwind single 'Silver Machine' gets a cover on here, also true to Voivod's name. Something I've always praised the band for is their covers, and they haven't disappointed me yet. It is a bit lesser than the original; lacking the space-rock element makes the cover have a more stripped down feel than the original. Nevertheless the band cleans it up and makes for one hell of a song. Fantastic.

Like the eternal beast, Voivod walks on. Is there a stop for them in the future? Who knows. At this rate these guys show no obvious signs of stopping. Post Society is pretty good. Yeah.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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