VOIVOD

Negatron is a major turning point in Voivod's long career. Released in 1995, this album marked a shift from the progressive and spacey sound they had on classics like Nothingface and The Outer Limits. Instead, they embraced a more aggressive, industrial-tinged style. This change is probably why the album remains divisive among fans.

With the departure of vocalist Snake (Denis Bélanger), Eric Forrest stepped in, handling both vocals and bass. His harsh, menacing vocals gave Negatron a darker, more direct feel. The album is raw, heavy, and almost mechanical, moving away from the complex, melodic soundscapes of the past. Instead, it's filled with industrial grit and a dystopian vibe.

This shift may have disappointed some longtime fans, especially those who loved Voivod's experimental and progressive side. But for others, Negatron shows the band's ability to evolve. Its raw energy and apocalyptic atmosphere fit well with the changing metal scene of the mid-'90s. In a time of turbulence in the genre, this album helped Voivod stay relevant.

Angel Rat, Voivod's sixth album, stands out as one of their most unique and challenging works. Released in 1991, Angel Rat is a significant album in Voivod's catalog. The record didn't have the immediate impact fans or the band's.

This album marks a shift in Voivod's sound, moving away from their punk-thrash roots into a more laid-back, melodic, and progressive direction. Produced by Terry Brown, known for his work with Rush, Angel Rat takes on a more rock-oriented and atmospheric feel, blending complex time signatures and unusual chords with Snake's melodic vocals. The sound is both catchy and strange, making it hard to fit into any particular genre?too weird for the mainstream and not heavy enough for metal fans at the time.

Tracks like "Panorama" and "Clouds in My House" show off this new style, with a mix of rock riffs and psychedelic lyrics. Guitarist Denis "Piggy" D'Amour explores jazzy chords, while bassist Jean-Yves "Blacky" Thériault delivers some standout moments, his bass lines reminiscent of Geddy Lee. Drummer Michel Langevin's artwork for the album adds to the eerie, distinct atmosphere Voivod is known for.

Angel Rat is an underrated gem, It's an album that took years for people to fully appreciate, with songs like "The Prow" and "Panorama" still part of Voivod's live set today.

Angel Rat got its name from a combination of the band's fascination with strange, surreal imagery and their shift in musical direction. Voivod often embraced abstract and otherworldly concepts, and the title reflects this. The "angel" could symbolize something ethereal or delicate, while the "rat" might represent something gritty or grounded, creating a contrast that mirrors the album's blend of melodic and progressive sounds with their trademark dissonance.

I started listening to Voivod in 1988 after a friend suggested them. The first album I heard was Killing Technology. I was impressed by their futuristic, apocalyptic, and claustrophobic style, but I couldn't connect with the music, which was a mix of punk and technical thrash metal with bleak, futuristic lyrics. Then Nothingface came out, and I finally felt their style matched the music's atmosphere.

Nothingface moves further from their cyberpunk/thrash roots and embraces progressive rock more than ever. It pushes the boundaries of metal in a way that's innovative and bold. Voivod dares to experiment, redefining what progressive metal can be. The album is cleaner and more clinical than their earlier work, which some may find off- putting, but the clarity lets each instrument stand out.

The rhythm section, led by Away on drums and Blacky on bass, is tight but plays with a jazz-like fluidity. Piggy's guitar work is outstanding, lighter, and dreamier, giving the album an airier feel that contrasts with the heavier tones of earlier releases. Songs like "The Unknown Knows" show how they blend hard rock with progressive influences while keeping that signature Voivod weirdness.

Their cover of Pink Floyd's "Astronomy Domine" is both faithful and modern, fitting perfectly with the album's spacey and futuristic vibe. Voivod amplifies the psychedelic feel of the original, making it a standout moment in the album.

The clean production, intricate song structures, and the band's technical skill reveal a more sophisticated side of Voivod. Nothingface stands out not just in their discography but in the progressive metal genre. Though it may have confused some fans at first, it shows Voivod's creative vision and their constant reinvention.

The Outer Limits represents a progression in Voivod's career. As their ninth studio album, it's the best example of their evolution from punk-thrash metal roots into a more space-rock direction. The result is a cosmic journey, full of atmospheric textures and a sci-fi narrative that pulls you in from the start.

At this point, Voivod was a trio. After bassist Jean-Yves "Blacky" Thériault left following Angel Rat, the band continued with Denis "Snake" Bélanger on vocals, Denis "Piggy" D'Amour on guitar, and Michel "Away" Langevin on drums. In the studio, Snake took over the bass, while session musician Pierre St-Jean contributed both bass and keyboards, adding more depth to the album's sound.

Piggy's guitar work is absolutely amazing on The Outer Limits. His playing blends intricate, progressive rock riffs with a psychedelic, spacey atmosphere. His use of unconventional chords and jazzy textures shines throughout the album, especially on the 17-minute epic "Jack Luminous." Piggy creates a soundscape that feels both futuristic and organic, perfectly matching the sci-fi themes. His guitar tone, with clean and heavy effects, gives tracks like "The Lost Machine" and "We Are Not Alone" an otherworldly feel, while still keeping the intensity of metal.

St-Jean's keyboard work adds to the album's progressive elements, layering cosmic sounds without overshadowing the guitar. The keyboards are used sparingly but effectively, making the album feel more expansive, especially alongside Piggy's soaring guitar.

The Outer Limits was Voivod's most avant-garde record at the time. It wasn't for regular metal fans, but critics and the band's loyal fan base received it well. Tracks like "Fix My Heart" and "Moonbeam Rider" showed a more melodic approach while keeping the band's experimental edge. Another highlight was their cover of Pink Floyd's "Nile Song," which they delivered with such skill that many listeners thought it was a Voivod original. It's one of the best covers ever done by a metal band and showcases their ability to reinterpret a totally underrated song from the British band.

Jack Luminous

Is Voivod's most ambitious tracks. At 17 minutes long, it's a progressive rock epic that combines the band's signature sci-fi storytelling with complex musical structures. The song tells the story of Jack Luminous, a character who opposes an alien race called the Cygnus, who seek to control and dominate the universe. The lyrics depict a dystopian future where the Cygnus have taken control, and Jack Luminous leads a rebellion against them. The narrative unfolds in different sections, using multiple perspectives and shifts in mood to convey the tension between freedom and oppression. The track shifts between atmospheric, psychedelic parts and heavier, more intense sections, keeping the listener engaged throughout its length. Piggy's guitar work plays a huge role in setting the tone, using dissonant chords, intricate riffs, and melodic passages to build a sense of drama.

The band learned a lot after working with Terry Brown on Angel Rat. You can feel the elements and musical atmospheres that they kept from that experience. In my opinion, this is Voivod's best record. It has grown on me over the years and has become one of the essential albums in my collection, no matter the music style.

Our '91 release, Voivod's sixth, begins with the short-lived, self-explanatory "Shortwave Intro", opening into "Panorama". This latter track has a surprising amount of classic Metal sonics about: clean vocals and chugging, riffing guitars [the whole album featured this 'surprise']. But then the bridge is quite nice. Progressive? Limited to this section's 6/8 forward drive (the majority is in a quick 4/4). Opening with another classic riff, "Clouds In My House" is next. And the back-glancing doesn't end here at its start. The guitars are slightly overdriven, looking to bands such as Kiss or even Def Leppard (as if I couldn't have said 'even' for Kiss). Signs of its actual time are revealed in its oft-occasioned cool--Dare I call this a reflection of contemporary Alternative Metal?--and instances of pinch squealin' leads. And speaking of, the guitar solo is very tasty indeed. More progressive than "Panorama"? Sure! I guess! Great track nonetheless.

Much to my continued surprise--but not to my chagrin--this general mode of lighter, Alt Metal-inflection continues on "The Prow". Cool rhythm here. Another great, and, yes, classic Metal guitar solo from Piggy. "Best Regards" is the first track which didn't immediately hook me, if that's telling [despite the lack of bolding I've withheld from the last two tracks, and a few toward the end]. A minute in and I'm just as on the fence; my ass is hanging off to one side in particular... It's punky. Interesting, but nothing fantastic. But this also has one of the most obviously progressive moments in its bridge and latter half... Very conflicting. A lot of great things still. Next is "Twin Dummy". Cool riff here, too, though feeling more like Hardcore Punk influenced? The bass from now-featuring Blacky is warmly rolling and flowing into my eardrums; great stuff. Our context is slightly re-substantiated with this total wash of keyboards, yet only briefly, as we approach 2:00.

To follow is the title track, "Angel Rat", bringing with it a totally other vibe; slower and softly 'doomy'. I welcome reproach, though, as this is probably my least favorite track thus far, ironically. Oh, and now "Golem" is up; and no, this isn't Stone Temple Pilots, sir hahaha! The sonic choices on this album are totally baffling to me, to be completely honest. What a strange time for music; and admittedly very great, too, obviously. Getting into the nitty-gritty, this offers far more promise than I first expected. Pretty dark track. And then this bridge section!!! Good God! I believe, a 'finally' is in order, but I'm now remembering track 5 ("Best Regards" seriously did have some not-so-hidden magic). Sadly, this awesome ends far too quick for my tastes. Cool riff and all, and hell, the vocals are working pretty nice here, too; just wanting quite a bit more. And for more confusion, let's talk the weird Mersey Beat randomness that is the harmonica at the start of "The Outcast". More classic Metalings here, over a hurried basic rhythm. All in all, though, it's a big ol' meh from me, dawg...

As we approach the close, "Nuage Fractal" seems to be offering me more of the same. I am terribly sorry to the real deal fans of this one, because I'm just feeling less and less for it as it progresses [there's almost no progression, again ironically]. What this one does offer is some interesting, almost surf-rock guitar, lightly swinging from ear to ear, and all over a fairly cool riff in the midsection. The vocals weren't working so hot for me here, and the overall composition was just not my thing, I guess. Next is "Freedoom"--surprised I've never seen this neologism before--begun with twinkling post-progressivisms, if I can personally pinpoint it; highly uncharacteristic. I mean, this feels like an Alt Rock B-side. Cool vibe though, end of the day. Finally then, around 2:00 (again?), something does in fact happen, and generally reminiscent to this one band I've heard before, too! Voivod, I think they were called... A surprise highlight, in fact! Finally, we have "None Of The Above". More classic, cleaner things going on here, too. Sorry I don't have more to say. Cool guitar solo, anyways. But the song was wanting. Which is not unique to this track.

Checking out the minority negative and middling reviews here before mine, and... yeah. [Starting with the 3-star ratings to those much worse...] Descriptions given for Angel Rat and its components such as 'disappointing', 'more subtle', 'much simpler', 'radio rock', 'not very progressive in any way', 'just awful', 'transitional', 'Grunge from outer space' [I couldn't have said that much better myself], 'average', 'not very convincing', 'suddenly drop off dramatically', 'very bland', 'pedestrian', 'very generic', 'very uninteresting [and] lackluster', 'Don't believe the hype,' 'a huge disappointment' [not to be redundant], and... *cough cough* 'overrated sh*t'... are certainly more than apt for much of the album. There's a smaller part of me that would consider this closer to 2-star material...

The current incarnation of Voivod have played together for the last 9 years (bassist Dominique "Rocky" Laroche being the last member to join in 2014), and the band have toured quite a lot in those years. They´ve obviously had a wish to show their fans how this version of the band interprete some of the band´s classic tracks, instead of just releasing another best-of compilation album (they´ve already been there and done that). This is also a celebration of the 40th anniversary of the release of the band´s first demo "Anachronism" from June 1983.

The tracklist is presented in chronological order with the oldest tracks first. "Condemned to the Gallows" opens "Morgöth Tales". It´s a track which originally appeared on the January 1984 "To the Death!..." demo, and which subsequently also would appear on the "Metal Massacre V" various artists compilation (Metal Blade Records, 1984), which helped spread Voivod´s name. Along with "Thrashing Rage" from Voivod´s second album "Rrröööaaarrr" (Combat Records, March 1986) which follows as track number two on "Morgöth Tales", "Condemned to the Gallows" represents the early punk/hardcore influenced speed/thrash metal years of Voivod´s discography. Raw, savage, and aggressive. The re-recordings are of course a lot more polished and you can actually hear all details, which isn´t always possible on the raw early releases from Voivod, and personally I enjoy these re-recordings tremendously...but then again I was never much of a fan of the early Voivod releases, so fans of those releases may find these re-recordings a bit too polished and clean.

The title track from "Killing Technology" (Noise Records, April 1987) follows along with "Macrosolutions to Megaproblems" from "Dimension Hatröss" (Noise Records, June 1988), and both represent the technical/progressive thrash metal part of the band´s history. Both are great tracks, but I prefer the originals. Then comes "Pre-Ignition" from "Nothingface" (MCA Records, October 1989), with it´s almost avant-garde technical/progressive metal sound. "Nothingface" is such a weird and unique album, that not even Voivod have ever been able to make anything like it since. "Nuage Fractal" from "Angel Rat" (MCA Records, November 1991) and "Fix My Heart" from "The Outer Limits" (MCA Records, August 1993) represent Voivod´s psychadelic progressive metal phase and both re-recordings work well. "Rise" from "Phobos" (Hypnotic Records, August 1997) is the only track on "Morgöth Tales" from the Eric Forrest-led era of the band´s history, and the re-recorded version actually features both bass and vocals recorded by Forrest. It´s a decent re-recording but a bit redundant to my ears as the original was already a badass heavy and aggressive song. "Morgöth Tales" closes with "Rebel Robot" from the eponymously titled album (Chophouse Records, March 2003) and features Jason Newsted on bass, and the new original track titled "Morgöth Tales". The former is as faceless as the original from 2003 and the latter is a pretty good quality 2023 Voivod track, which pretty much sounds like the material from "Synchro Anarchy" (Century Media Records, February 2022).

Upon conclusion the idea to re-record some of the classics from Voivod´s back catalogue isn´t a bad one. Personally I prefer the originals (except for the re-recordings of the early tracks, which are pretty great) but these versions are generally both well performed and arranged too. I have a minor issue with the way the drums are produced as they sound a little thin and clicky, but that´s probably an aquired taste. Other than that "Morgöth Tales" is a good quality release and a 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives)

"Synchro Anarchy" is a self-produced release and Voivod have managed to produce a well sounding album, featuring a both warm, heavy, and organic sounding production. It´s not terribly different sounding from "The Wake" (2018), and that can also be said about the compositions. Stylistically the material is psychedelic tinged, sci-fi themed, progressive metal with the occasional thrash metal and hardcore punk influence thrown in. So the atmosphere of the album is close to the psychedelic leaning early 90s Voivod releases, but with a slightly harder edged riff- and drum style and with less accessible melodies and more challenging song structures. Lead vocalist Denis "Snake" Bélanger sounds as unique as always and his voice and singing style is probably still an aquired taste. It doesn´t sound pretty, but it´s arguably an original and instantly recognisable vocal sound. The riffs are twisted, dissonant, and generally very creative.

Listening to a new Voivod release it always takes some time to get into the right mood and mindspace and truly listen and appreciate the brilliance of the weirdness. It´s like experiencing an acid trip with an alien friend. Things are distorted, dissonant, and twisted, but also warm, pleasant, and occasionally beautiful (in its own unique and spaced out way). No one sounds like Voivod, who are truly progressive and distinct sounding, but that of course always means that they are very much an aquired taste. They are generally well respected on the scene, but I can understand why some listeners don´t find their adventurous sound appealing (or simply find it inaccessible).

Quality wise "Synchro Anarchy" continues the high quality of "The Wake" and those who enjoyed that release, will find just as much to appreciate on "Synchro Anarchy". So upon conclusion Voivod have created yet another high quality release and the adventure just seems to continue...a 4 star (80%) rating is deserved.

(Originally posted on Metal Music Archives)

It is certainly interesting to hear how the band have changed over the years, and it is nice they have put the tracks in original release order, so as we work through there is that progression. Voivod are often grouped with Sacrifice, Razor and Annihilator as part of the "big four" of Canadian thrash, yet to my ears they have always had an element which set them well apart from the rest of the crowd, being way more technical in their approach, never afraid to move in a different direction and their riffs are so sharp and jagged that they need to be classified as dangerous weapons. More than 40 years after their inception they are still taking music in different directions, and it is interesting to hear just how relevant this music is all this time on from when they wrote it. The earliest song is "Condemned To The Gallows", which originally appeared on 1984's 'Metal Massacre V' but it is still exciting and cutting today. The most recent song is "Rebel Robot" from their 2003 self-titled release, so there is nothing from the last five albums, but in many ways that makes sense as they look back over their history and concentrate on the earliest.

For those who have yet to come across Voivod (the question there must be, "Why?"), then here is a nice way to sample their catalogue with modern recording techniques from a band who really know what they are doing. This is thrash being taken to totally different level.

'Nothingface' is an interesting metal album. It is prone to subtleties and just noticeable nuances. This comes through with the first track, 'Intro/The Unknown Knows'. A minute in the song explodes. Denis Bel'nger has some distinct vocals that I really enjoy. This song has very rapidly changing time signatures. The guitar, bass, and drums are all going insane in perfect harmony. The lyrics are dark and surreal. This is a great song. 'Nothingface', the title track, has some great lyrics and a nice chorus. I really enjoy the bass in this song. It doesn't overshadow the guitar, but is there enough to be loud and prominent. 'Astronomy Domine', (yes, the Pink Floyd cover) builds for a while until the original melody kicks in. This is a solid cover; I think it is just as good as Les Claypool's. The guitar solo is captivating. 'Missing Sequence' opens with a really nice beat. The odd pacing allows for the drums and bass to show off. Like all the songs on this album, the songs change melody frequently and rapidly. There is an absolutely incredible guitar solo somewhere within that blend of melodies. This might be my favorite song on the album. 'X- Ray Mirror' has some dark lyrics and nice guitar riffs and solo. 'Inner Combustion' has some of the best vocals on the album and the drums are very strong and powerful. It is also the shortest song on this album. 'Pre-Ignition' has dark lyrics and the guitar just feels like it is going to explode in your face. This is probably my second-favorite song on this album. The guitar solo is intense and fun, although it's quite short. 'Into My Hypercube' has a nice soft opening. The lyrics are pretty depressing. The guitar solo is short and digestible. This is one of the best songs on the album. 'Sub-Effect' has a funky beginning, but is quickly picked up by heavy instrumentation. The song has pessimistic, cynical lyrics. A pretty grim ending to a dark album.

An EP on an animated series to remind us that they take music like a game and this latest album that takes me back 20 years: You have understood that if you had loved before, you will be fulfilled; if you didn't know and you come across them and like them, you will devour their discography; otherwise you will be waiting. 'Paranormalium' with the heavy intro METALLICA of the beginnings, the eponymous title 'Synchro Anarchy' and 'Planet Eaters' are there to warm the ears and allow to regress pleasantly because the sound is on the same wavelength. I note the bass well forward putting Denis in the bow with his typical voice. 'Mind Clock' with a dark intro and 'Holographic Thinking' with a speed metal riff which refers to a Japanese cartoon BOF, longer ones barely surf on the current prog trend, it's good and agreed, consensual when you can't find no significant creativity, innovation. 'The World Today', 'Quest for Nothing' and 'Memory Failure' complete this good album in itself but which is VOIVOD and that's it.

For fans, for those who are discovering, who will have the current sound, otherwise remember that their must-have remains 'Dimension Hätross' that will never go out of fashion.