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VOIVOD

Tech/Extreme Prog Metal • Canada


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Voivod biography
Originally from 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

Voivod official website

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Buy VOIVOD Music


Killing TechnologyKilling Technology
Noise 1998
Audio CD$7.23
$5.99 (used)
KatorzKatorz
The End Records 2006
Audio CD$2.02
$0.98 (used)
Target EarthTarget Earth
Century Media 2013
Audio CD$8.25
$5.49 (used)
Dimension HatrossDimension Hatross
Noise 1999
Audio CD$6.43
$6.18 (used)
War & PainWar & Pain
Metal Blade 1994
Audio CD$4.18
$3.08 (used)
RrrooaarRrrooaar
Noise 1998
Audio CD$982.34
$62.99 (used)
PhobosPhobos
Linus Entertainment 2005
Audio CD$9.65
$9.15 (used)
Outer LimitsOuter Limits
Universal Music & VI 1993
Audio CD$38.99
$16.97 (used)
Best ofBest of
Futurist Records 1993
Audio CD$31.95
$7.99 (used)
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VOIVOD shows & tickets


  • Housecore Horror Fest on 23 Oct 2014

VOIVOD discography


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

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

2.91 | 54 ratings
War and Pain
1984
2.52 | 50 ratings
RRROOOAAARRR!!!
1986
3.98 | 105 ratings
Killing Technology
1987
4.19 | 126 ratings
Dimension Hatross
1988
4.22 | 198 ratings
Nothingface
1989
3.97 | 96 ratings
Angel Rat
1991
4.20 | 94 ratings
The Outer Limits
1993
2.46 | 39 ratings
Negatron
1995
2.95 | 41 ratings
Phobos
1997
3.09 | 46 ratings
Voivod
2003
3.12 | 45 ratings
Katorz
2006
3.20 | 36 ratings
Infini
2009
3.67 | 65 ratings
Target Earth
2013

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

3.13 | 12 ratings
Voivod Lives
2000
3.23 | 9 ratings
Warriors of Ice
2011

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

4.40 | 10 ratings
D-V-O-D-1
2005

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

2.93 | 6 ratings
The Best of Voivod
1992
1.87 | 10 ratings
Kronik
1998

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

4.00 | 1 ratings
Thrashing Rage
1986
3.00 | 1 ratings
Cockroaches
1987

VOIVOD Reviews


Showing last 10 reviews only
 War and Pain by VOIVOD album cover Studio Album, 1984
2.91 | 54 ratings

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War and Pain
Voivod Tech/Extreme Prog Metal

Review by VOTOMS

3 stars I'm feeling bad giving 3/5 to Voivod's debut since I prefer listening this one than Wish You Were Here (My rate for it is 4/5). The fact is that War and Pain is obviously not the reason to Voivod being here. And their first two albums are the less relevant albums in every way into their discography. But this debut is the hardest. Hard listening, really. Harder than the bizarre and chaotic Voivod presented between Killing Technology and Nothingface. That's because of the poor thrashy sounding. Sounds a monotonous hardcore/thrash metal album at first, but after all these Voivod years I'm saying this one pretty kick asses, and the happiness to find a fine album into something previously boring is better than a masterpiece at first listen.

This is much more than a simple repetitive thrash metal. Piggy dissonant guitar riffs, the Voivod's soul, is already there. The main Voivod's plot is SCI-FI, and the album concepts by Away are awesome. The early sound of Voivod has the futuristic setting, but not in a space opera way, full of dimensional travels, technologies and space pirates. This one is the beggining of the Voivod saga, right on Earth, and the album theme is around nuclear devastation. The raw rotten rock of War and Pain fits perfect with the album concept. The poor quality of this death/thrash record brings the catastrophe to the air, and listening to this album I breathe the polluted and dirty smoke from a post-apocalyptical city ruled by an evil cyberpunk bikers gang, wearing red mohawks, gay leather outfits, big ass boots and monochles, trapping innocent hostages and torturing them til death with chains, and laughing at the misery and scarcity. I can clearly watch Piggy in the middle of the ruined old buildings playing Suck Your Bone, while the angry Snake sings barely biting the mic. Piggy's guitar is too damn dissonant as ever, and you will find some kind of strange psychedelic riffs, full of effects and feedback on the last track. Oh hell, you will find the angriest Snake ever listening to this album, his voice is unique. Take a look at Blacky and you will see, his appearence and attitude playing the bass is so violent! The cover art it's a fine way to describe what I heard from Voivod's debut. The band was very influenced by the 70's progressive scene and crust hardcore. Here's the answer if you are asking yourself what the kind of hell these guys were trying to do with their first underrated album. This is the extreme, heavy heavy side of Voivod. I needed guts to start enjoying War and Pain. But it worth a lot.

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 Voivod by VOIVOD album cover Studio Album, 2003
3.09 | 46 ratings

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Voivod
Voivod Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Crossover Team

4 stars This includes new boy Jasonic, otherwise known as Jason Newsted. I think that it is fair to say that there has been more noise about Jason joining the band of which he has been a fan for so long, than when he was picked up out of Flotsam & Jetsam to join Metallica. When you are a member of the biggest band in the world just what are you doing leaving them to join a Canadian outfit that have been going for over twenty years?!!

It is something that he has been contemplating since 1995, and he has now joined Snake, Piggy and Away who were all members as long ago as 1984 when the band first came to public recognition. I know that they have released many albums that are viewed as important, but for some reason I had never heard any of their music and somehow had formed the impression that they were noise merchants.

But that is a long way from the truth, as this is a solid slab of metal that moves and grows and is extremely powerful and forceful. Jason has linked up with Piggy in a way that is most unusual. Normally the bass guitar sticks with the drums, laying down a rhythm for the guitars to pit against. But on this album the bass and guitar are often locked together which gives it a distinctive solid sound. Even Motörhead, who have some of the most powerful bass guitar in the business, don't do it like this as in that case Lemmy is providing a rhythm guitar section.

From "Gasmask revival" through to the last song "We Carry On" there is not a filler in sight. Fans of Metallica will flood to this just to hear what it sounds like and they will not be disappointed but rather very surprised and pleased indeed. This is a great album, spoilt only by the fact that it has been set so that it won't play in a PC, which for me is a real pain.

Originally appeared in Feedback #72, Feb 03

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 Target Earth by VOIVOD album cover Studio Album, 2013
3.67 | 65 ratings

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Target Earth
Voivod Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Target Earth" is the 13th full-length studio album by Canadian progressive/thrash metal act Voivod. The album was released through Century Media Records/Iron Gang Factory in January 2013. Since the death of original guitarist Denis "Piggy" D'Amour in August 2005, the band have released "Katorz (2006)" and "Infini (2009)", which were recorded with guitar tracks demoed by D'Amour before his untimely death. A rather unusual way of recording, that presented the band with a number of technical difficulties, which they overcame in order to honour their fallen brother. It´s up for discussion if the end results were artistically succesful, but they probably helped the band through their mourning process and they were certainly both interesting studio experiments. On "Target Earth" the band have added a new guitarist to the lineup in Daniel "Chewy" Mongrain. Mongrain is not completely new in the lineup though as he has toured with Voivod since 2008 and also recorded the "Warriors of Ice (2011)" live album with the band. He is also a member of technical death metal act Martyr. "Target Earth" also sees the return of original bassist Jean-Yves "Blacky" Thériault on a studio recording. He too has been part of the band since 2008 though.

So 3/4 of the original lineup is back together, but the big question is of course how Mongrain pulls it off playing on new original material, keeping in mind that D'Amour was always the main composer in the band (not to mention one of the most original and unique sounding guitarists in metal). Thankfully Mongrain delivers a performance that is both true to the Voivod sound but also adds a few personal touches along the way. His touch is espeically heard in the well played guitar solos, but there are other details in his playing that set him apart from D'Amour too. It´s still predominantly dissonant riffing that´s on the menu though, so don´t despair if you miss D'Amour. This still through and through sounds like Voivod. Of course that´s also obvious when Denis "Snake" Bélanger starts singing in his trademark raw punked singing style.

Stylistically the music on "Target Earth" sits somewhere between the progressive thrash of "Dimension Hatröss (1988)", the psychadelic tinged progressive metal of "Nothingface (1989)" and when it´s most melodic "Angel Rat (1991)" and "The Outer Limits (1993)". But the band still succeed in creating a sound that´s somewhat unique for "Target Earth". The band are as always very well playing and it´s an absolute joy to hear Jean- Yves "Blacky" Thériault´s distorted bass on a Voivod album again. The sound production is professional and powerful sounding. The material is generally entertaining and as usual sci-fi themed, which songtitles like "Target Earth", "Kluskap O´kom" and "Mechanical Mind" bear witness to.

After a couple of albums that didn´t exactly live up to the quality I expect from Voivod, it´s safe to say that "Target Earth" is a return to form. "Target Earth" is simply miles ahead of "Katorz (2006)" and "Infini (2009)" in terms of quality and memorability. A 4 star (80%) rating is deserved.

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 Target Earth by VOIVOD album cover Studio Album, 2013
3.67 | 65 ratings

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Target Earth
Voivod Tech/Extreme Prog Metal

Review by Prog Sothoth
Collaborator Prog Metal Team

4 stars I know. The cover looks like something spray-painted on the wall of a comic book store. If I came face to face with that gun-toting character in a war scenario, I wouldn't stand a chance since I'd be laughing too hard to aim properly. It's a bit of a shame since a good number of Voivod's previous album sleeves possess sweet and pretty killer artwork that genuinely reflected the wild music within. In this case, rest assured that Target Earth is not specifically groovy disco sci-fi metal from da streets, but it's good. Damn good at times.

I honestly did not expect the band to persevere after guitarist Piggy's passing, especially considering he was essentially the backbone of the band's unique sound. Bringing in Chewy, though, as their new guitarist and getting their original bassist Blacky back in the fold has not only kept the band going, but revamped the band with a new sense of energy. If they could add a full-time keyboardist named Bunny and a saxophone player named Spanky, then they'd really be all set, but as for now, Voivod are officially back doing what they are best known for, which is their brand of cyberpunk metal with lots of tritone chord progressions meshing with some Pink Floyd and Rush influences.

And I dig it. Right off the bat, the music harkens back to their late 80's golden age, channeling aspects of everything from Killing Technology through Nothingface. Chewy was no doubt a fan of that era of the band growing up, and especially Piggy's rhythm techniques, thus his contribution to the band's current sound has such a strong vibe of works like Dimension Hatross that Target Earth almost feels like some lost recording from 1988.

Soundwise all instruments are clearly discernable, including Blacky's heavily distorted bass licks. Many of these tunes have abundant tempo and time signature shifts, as tracks like "Kaleidos" can attest, which must be a chore to pull off on stage. This is definitely some of their busiest and most difficult material since Nothingface, and yet these songs never lose themselves into convoluted riffs tossed together willy-nilly. They are catchy and memorable to the point where I was whistling parts of the somewhat psychedelic "Warchaic" long after my first listen. Although the overall sound is somewhat constant, the speed and attitudes vary from track to track, with slow trippy passages complimenting thrashier d-beat backed riffs.

Snake the singer is another key factor in Voivod's vision, providing vocals that are really hard to classify except that they work perfectly with the cyberpunk and space-rock mentality. A bit rougher in tone these days, bringing back a bit of that Killing Technology 'throatiness' while retaining his detached, cool demeanor, Snake still has a commanding presence, although during the first track at key moments there's some effects tacked on to his lyric dispensing that causes him to sound like Dave Mustaine with a stuffed nose (not a particularly good thing) that luckily aren't repeated later during the album's running time.

These guys should feel proud of what they achieved here. While a whole lot of heavy bands from the 80's continue to pump out new garbage under their flagship name just to play their old tunes during metal festival tours and whatnot, Voivod actually captured what made them great back in the day and revitalized that sound for this age. It can be debated as to whether a band mining almost entirely into its back catalogue for inspiration can be considered a 'progressive' act, even if that old material defined the group hitting a creative stride, but in this case I wouldn't bother. I'm just enjoying this stuff.

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 Target Earth by VOIVOD album cover Studio Album, 2013
3.67 | 65 ratings

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Target Earth
Voivod Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Crossover Team

4 stars Voivod have always refused to do anything to fit into any particular genre, remember their version of "Astronomy Domine" or "21st Century Schizoid Man"? Not what someone may normally associate with a thrash band, but there's the point. Under Piggy's guidance Voivod were never just another thrash band. There are many who thought that the band would implode after Piggy's passing, but here we are in 2013 and yet again the band are doing just what they do best, which is whatever they want. It is going to take a while to see if this band will ever gain the kudos of 'Nothingface' or 'Dimension Hatröss', but amazingly the latter of those two is now 25 years old!!

This is Voivod for now, and these crazy Canadians show no sign at all of slowing down. It is quirky at times, extremely staccato at others, yet always in your face and a real refusal to compromise. I have most of Voivod's albums and take it from me this maintains all that they have stood for over the years, while giving us metalheads something else to savour. www.centurymedia.com

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 Target Earth by VOIVOD album cover Studio Album, 2013
3.67 | 65 ratings

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Target Earth
Voivod Tech/Extreme Prog Metal

Review by Failcore

4 stars Ah, hear we go! After nearly two decades, Voivod returns to making truly unique technical metal. I suppose they finally decided they had extended Piggy the proper grieving period and hired the new guitarist Chewy to succeed him. Chewy had some big shoes to fill, and while his soloing isn't quite as fun or unpredictable as Piggy's could be in that magical Nothingface/Hatross era, he does an excellent job carrying the overall sound of Voivod forward. What we have here is an album that sounds like a spacier, yet gruffer version of "Dimension Hatross". Away seems to have really put a big effort forward, as the drums sound miles beyond what he was doing on "Infini", the previous release. Additionally, the production is greatly improved and they seem to have gotten much, if not all of their youthful energy back. The song writing may not be quite as good as their classic albums from the late 80s and early 90s, but they still did a great job, as there's not a single clunker on here. "Target Earth" and "Mechanical Mind" in particular nothing short of amazeballs. I'm still processing this album, so I may come back and add a track by track breakdown later, but I'm thinking we have a solid 4 star on our hands here!

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 Infini by VOIVOD album cover Studio Album, 2009
3.20 | 36 ratings

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Infini
Voivod Tech/Extreme Prog Metal

Review by Failcore

3 stars I'm on a Voivod kick lately, so I'm writing this review, and the review for the successor,"Target Earth," back to back. As others have noted, this is the 2nd Voivod album to be released after the untimely death of veteran guitar genius Denis D'Amour AKA Piggy. But nonetheless, his guitar work is still featured prominently on this album due to posthumous use of guitar tracks he had laid down prior to his death. Musically, this album is sort of a halfway return to proggy form for Voivod; it mostly sounds like a blend of Hatross era Voivod, earlier Clutch, and Queens of the Stone Age. As such, it may not be of interest to prog heads at large, but more open-minded Prog Metal fans, and, for sure, Voivod fans should be able to find a large chunk of this album to their liking. That being said, it is a mixed bag, with tracks like God Phones, Global Warning, and Morpheus being decently solid additions to the band's repertoire, and others, such as From the Cave and, ugh, Destroy After Reading, not so much. But as a fan of the classic Voivod era, there's enough of that unique, one-of-a-kind Voivod sound here to make me happy inside. Moreover, this album is a harbinger of good. things to come.

1) God Phones-4 2) From the Cave-2 3) Earthache-3.5 4) Global Warming-4 5) A Room With a VU-3.5 6) Destroy After Reading -1.5 7) Treasure Chase-3 8) Krap Radio-2.5 9) In Orbit-2 10) Deathproof-3 11) Pyramidome-3.5 12) Morpheus-4 13 Volcano- 2.5

3 stars overall

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 Nothingface by VOIVOD album cover Studio Album, 1989
4.22 | 198 ratings

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Nothingface
Voivod Tech/Extreme Prog Metal

Review by Prog Sothoth
Collaborator Prog Metal Team

4 stars Voivod had clearly set themselves apart from just about any other thrash band by Dimension Hatross in terms of sound, but they would take the whole thing further into a truly weird realm with Nothingface, which to this day remains one of the more unique albums I've ever heard.

There's still some elements of thrash present, particularly with the drumming which bounces about between spacey grooves and fast tempos augmented with double bass pedaling. But man, there's a truly strange aural experience going on here, mostly due to Denis d'Amour's wildly adventurous chord progressions that tap into some sort of futuristic fusion metal sound. When I bring up fusion in this case, I don't mean in the sense of those extreme metal bands that pummel away until suddenly shifting into some loungy jazz piece before getting all heavy again. The jazziness in Nothingface is inherent throughout the album due to the nature of the music as a whole, with the bass guitar absolutely necessary and up front to anchor the music while the guitar explores tritone textures and dissonant passages that still retain an appealing smoothness.

Another important aspect of this album is Denis Belanger. On this album, his vocals stand out as an original and rare blending of alternative, punk and space rock stylistics...eschewing the snarly yelling of his full throttle thrash days. As a result, the album, though clearly metal in instrumentation, doesn't necessarily feel like a metal album, but almost like some heavy space rock album with elements of metal music woven into the songs. It's quite strange and to this day not often mimicked.

The most important thing to note, however, is that these songs are generally quite entertaining. Tracks like "The Unknown Knows" and "Inner Combustion" are punchy with some cool cyberpunk attitude, and a track like "Into My Hypercube" adds softer passages with agreeable melodies and interesting lyrics. My personal favorite would be the final cut, being "Sub Effect", with its fantastic opening couple of minutes provided by the jerky rhythms and the singer's unique tone...like a tough & mean version of that Violent Femmes guy. There's also that tripped out break with jangly distant guitars two thirds of the way through that number that's just a great insert into the song while not being jarring.

The cover of Astronomy Domine deserves mention as well; being one of the better Pink Floyd covers I've heard with some spot-on guitar playing. A few of the other tracks such as "Pre-Ignition", while fine enough in their own right, don't resonate as well as others, and as the album wears on, it can feel a bit "same-y" on a few occasions despite being a complete anomaly in the metal world. Still, it was quite a release back in the day, and still has few peers even now. An excellent work overall.

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 Killing Technology by VOIVOD album cover Studio Album, 1987
3.98 | 105 ratings

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Killing Technology
Voivod Tech/Extreme Prog Metal

Review by Prog Sothoth
Collaborator Prog Metal Team

4 stars Through most of their catalogue, the evolution of the band seems like a gradual trajectory from thrash roots to spacey prog concerning the initial "Snake" years up from War & Pain until The Outer Limits, but their was one jagged shift that must be noted...and that is this album. Whereas Voivod's second effort was a dirtier, faster, uglier, and frankly, crappier album than the debut, Killing Technology was a complete shocker in just how different it sounded. It was as if Roooarrr! never happened, and the throaty yelps were back instead of Snake's attempt at thuggish grimy hollering, and the production values were a HUGE step up in quality. There was a lot of new things going on as well.

Piggy's guitar riffs really piled on the dissonance, which actually gave these songs an extra richness and all-encompassing vibe. The rhythms are generally fast and aided by lots of D- beat drum beats and general bashing, but there's a whole new level of complexity displayed in songs like the brilliant "Forgotten In Space" with some definitive proginess disrupting the thrash flow of the album.

It's still essentially a thrash album, but one of the most complex and intricate ones of it's time, and certainly unique not just for utilizing proggish aspects, but retaining a punkish vibe throughout the proceedings as well with Snake's snarly vocals and that aforementioned D- beat drumwork. Throw in full on dystopian sci-fi lyrics and some kickin' bluesy solos and you have an album with a whole slew of different influences forming one unique vision.

I used to own this on vinyl, which omitted the leftover tracks "Too Scared To Scream" and "Cockroaches", which honestly are the two tracks I could easily live without. The other songs, though, are killer, with "Overreaction"'s ferocity and "Forgotten In Space"s adventurousness within the thrash metal confines being essential tracks.

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 Phobos by VOIVOD album cover Studio Album, 1997
2.95 | 41 ratings

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Phobos
Voivod Tech/Extreme Prog Metal

Review by FragileKings

3 stars Voivod was one of those bands I snatched up on cassette in the mid-80's when thrash/power/speed metal was flooding the metal landscape. Though I bought a lot of stuff back then, very few of those bands impressed me enough in later years to be worthy of keeping in my collection on CD. Voivod's debut, War and Pain had a few tracks that I loved, and their third and fifth albums - Killing Technology and their seminal album Nothingface - managed to survive the decades of my changing musical tastes. Then early this year (2012) I took up interest in the band again and soon had my collection of their studio albums complete.

This is one of those bold move albums that either draws people closer or repulses them from the band. Or should I say revolts them? For my tastes however, this album is quite attractive in sound.

The reasons often cited for disliking this album: new vocalist Eric Forrest is nowhere nearly as interesting and unique as founding vocalist Denis Belanger; Jean-Yves Theriault isn't playing bass on this; the guitars are just a wall of sound.

It's usually disappointing when certain band members we have come to love leave the band and the new members can't replace what was lost. But given the direction that Voivod was heading through the period of Angel Rat and Outer Limits, I think it was a daring and bold move to take the new band in the direction of Negatron and Phobos. On the other hand, the band had been moving away from their speed metal roots and these two more recent albums remind us that this is where the band came from. If the last album you heard was Killing Technology and then picked up Phobos ten years later, you would likely not be surprised by the sound nearly as much as by the line-up change.

I actually find this album really interesting to listen to, though I usually prefer to listen to a few individual songs like Phobos, Bacteria, Neutrino, and Forlorn than the whole album straight through. The album is bookended by two sound effect instrumentals Catalepsy and Catalepsy II, which are on their own not much but being there they give the album a sense of conceptualization, a sense that is enforced with the bizarre and sometimes creepy sound effects that link the songs. You will also note that most tracks have a one-word title, further creating the idea of a theme.

There is little variety in the music. Almost every song is like being whacked by a giant tennis racket of distorted guitar, and given Denis D'Amour's penchant for weird and dissonant chords, that sensation of being clobbered is only stronger. The pace of the songs usually varies between doomy space extreme metal and a careening battleship of rapid-paced space speed metal. The songs do find time to fit in some interludes from the mayhem of sound with creepy undistorted guitar with spooky cosmic effects or abrupt tempo changes at times. The vocals are powerful screams from a terribly scratched throat - very much suiting the music - but sometimes they are distorted too and the lyrics are difficult to distinguish. That's a weak point for me. The music overwhelms the vocals.

Two tracks that stand out for me because of the mood they establish are the instrumental Temps Mort and Neutrino. Temps Mort is a solemn and grim piece that reminds me a bit of something from Nine Inch Nail's The Downward Spiral but with accordion played by drummer Michel Langevin. It has a strong post apocalyptic atmosphere but with a folksy European touch. It's a welcome interlude from the sonic assault that composes most of this album. Neutrino has such a sparse but hideously creepy intro. The image that comes to my mind is of some enormous space creature hammering on the hull of a doomed spacecraft while the crew inside are frozen with fear. It gives me the shivers each time I hear it, a great example of how even heavy metal can create images with music.

I was surprised to discover Voivod on this site at first because I believed at first that progressive rock was more like Yes, Genesis, Gentle Giant and the likes. While this album is not Voivod's most progressive work, I think they have - as they usually seem to do - embraced a style of music and put their own unique stamp on it. I have not heard an album that sounds similar to this and usually when Voivod do anything, they do it with their own special twist. I do believe it has progressive elements, but this is tech/extreme prog metal here so unless that's your bag, you should stay away. If you love the classic Voivod then you should approach this with caution. If you want to hear something that will at first give you the feeling of listening to an extremely harsh hangover but later make you feel like you've just heard an album by a Sith Lord's evil twin's metal band, this might just appeal to you.

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