Thrash Metal / Progressive Metal / Heavy Metal / Technical Thrash Metal • Canada
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Voivod are a progressive thrash metal band from Jonquiere, Quebec, Canada, with a very distinct sound. Formed by Denis "Piggy" D'Amour, Michel "Away" Langevin and Jean-Yves "Blacky" Theriault, the fledging group soon found the perfect singer in Denis "Snake" Belanger. A blend of thrash with some progressive rock thrown in, and lyrics leaning heavily on sci-fi imagery. One of the first Canadian punk and thrash bands to enjoy success outside of Canada, they released four albums in the mid '80s before being signed to a major label. War And Pain in 1984, Rrroooaaarrr! in 1986, Killing Technology in 1987, and Dimension Hatross in 1988. Their blend of thrash and progressive rock caught the ear of MCA Records, who signed them and released their next album, Nothingface in 1989. The video of their Pink Floyd cover, Astronomy Domine, got tons of MTV airplay. They would headline read more...
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VOIVOD Discography

VOIVOD albums / top albums

VOIVOD War And Pain album cover 3.34 | 28 ratings
War And Pain
Thrash Metal 1984
VOIVOD Rrröööaaarrr album cover 3.26 | 22 ratings
Thrash Metal 1986
VOIVOD Killing Technology album cover 4.18 | 40 ratings
Killing Technology
Technical Thrash Metal 1987
VOIVOD Dimension Hatröss album cover 4.33 | 47 ratings
Dimension Hatröss
Technical Thrash Metal 1988
VOIVOD Nothingface album cover 4.07 | 57 ratings
Progressive Metal 1989
VOIVOD Angel Rat album cover 3.84 | 34 ratings
Angel Rat
Progressive Metal 1991
VOIVOD The Outer Limits album cover 4.28 | 34 ratings
The Outer Limits
Progressive Metal 1993
VOIVOD Negatron album cover 2.96 | 18 ratings
Thrash Metal 1995
VOIVOD Phobos album cover 3.41 | 17 ratings
Thrash Metal 1997
VOIVOD Voivod album cover 2.98 | 13 ratings
Heavy Metal 2003
VOIVOD Katorz album cover 3.74 | 13 ratings
Heavy Metal 2006
VOIVOD Infini album cover 3.10 | 16 ratings
Thrash Metal 2009
VOIVOD Target Earth album cover 4.00 | 25 ratings
Target Earth
Progressive Metal 2013
VOIVOD The Wake album cover 4.32 | 14 ratings
The Wake
Progressive Metal 2018

VOIVOD EPs & splits

VOIVOD Thrashing Rage album cover 0.00 | 0 ratings
Thrashing Rage
Thrash Metal 1986
VOIVOD Cockroaches album cover 0.00 | 0 ratings
Technical Thrash Metal 1987
VOIVOD Live @ MusiquePlus album cover 0.00 | 0 ratings
Live @ MusiquePlus
Progressive Metal 2000
VOIVOD We Are Connected / Language of the Dead album cover 4.00 | 1 ratings
We Are Connected / Language of the Dead
Progressive Metal 2015
VOIVOD Post Society album cover 3.90 | 8 ratings
Post Society
Progressive Metal 2016
VOIVOD The End of Dormancy album cover 3.50 | 1 ratings
The End of Dormancy
Progressive Metal 2020

VOIVOD live albums

VOIVOD Lives album cover 2.50 | 1 ratings
Thrash Metal 2000
VOIVOD Warriors of Ice album cover 3.15 | 5 ratings
Warriors of Ice
Thrash Metal 2011
VOIVOD Live at Roadburn 2011 album cover 4.00 | 1 ratings
Live at Roadburn 2011
Thrash Metal 2012
VOIVOD Lost Machine - Live album cover 4.50 | 1 ratings
Lost Machine - Live
Progressive Metal 2020

VOIVOD demos, promos, fans club and other releases (no bootlegs)

VOIVOD Anachronism album cover 0.00 | 0 ratings
Thrash Metal 1983
VOIVOD To the Death album cover 0.00 | 0 ratings
To the Death
Thrash Metal 1984
VOIVOD Morgöth Invasion album cover 0.00 | 0 ratings
Morgöth Invasion
Thrash Metal 1984
VOIVOD Zeche Bochum album cover 0.00 | 0 ratings
Zeche Bochum
Thrash Metal 1986
VOIVOD No Speed Limit Weekend album cover 0.00 | 0 ratings
No Speed Limit Weekend
Thrash Metal 1986
VOIVOD Dimension Hatröss Demos album cover 0.00 | 0 ratings
Dimension Hatröss Demos
Thrash Metal 1987
VOIVOD Live à Bruxelles album cover 0.00 | 0 ratings
Live à Bruxelles
Thrash Metal 1987
VOIVOD Spectrum album cover 0.00 | 0 ratings
Thrash Metal 1987
VOIVOD The Sounds Machine EP 2 album cover 0.00 | 0 ratings
The Sounds Machine EP 2
Thrash Metal 1988
VOIVOD Nothingface Demos album cover 0.00 | 0 ratings
Nothingface Demos
Progressive Metal 1988
VOIVOD A Flawless Structure? album cover 4.50 | 1 ratings
A Flawless Structure?
Thrash Metal 1988
VOIVOD From the Forthcoming Album Nothingface album cover 0.00 | 0 ratings
From the Forthcoming Album Nothingface
Progressive Metal 1989
VOIVOD Live at the Paradise album cover 0.00 | 0 ratings
Live at the Paradise
Progressive Metal 1990
VOIVOD Angel Rat Sampler album cover 0.00 | 0 ratings
Angel Rat Sampler
Progressive Metal 1991
VOIVOD Angel Rat Demos album cover 0.00 | 0 ratings
Angel Rat Demos
Progressive Metal 1991
VOIVOD Fix My Heart album cover 0.00 | 0 ratings
Fix My Heart
Progressive Metal 1993
VOIVOD The Lost Machine album cover 0.00 | 0 ratings
The Lost Machine
Progressive Metal 1993
VOIVOD The Nile Song album cover 0.00 | 0 ratings
The Nile Song
Progressive Metal 1994
VOIVOD Negatron Demos album cover 0.00 | 0 ratings
Negatron Demos
Thrash Metal 1994
VOIVOD Klubben Stockholm album cover 0.00 | 0 ratings
Klubben Stockholm
Thrash Metal 1999
VOIVOD 2001 Album Demo album cover 0.00 | 0 ratings
2001 Album Demo
Thrash Metal 2001
VOIVOD Katorz Demos album cover 0.00 | 0 ratings
Katorz Demos
Heavy Metal 2004

VOIVOD re-issues & compilations

VOIVOD The Best of Voivod album cover 3.50 | 4 ratings
The Best of Voivod
Thrash Metal 1992
VOIVOD Kronik album cover 2.31 | 5 ratings
Thrash Metal 1998
VOIVOD To The Death 84 album cover 0.00 | 0 ratings
To The Death 84
Thrash Metal 2011

VOIVOD singles (4)

.. Album Cover
4.50 | 1 ratings
Thrash Metal 1996
.. Album Cover
0.00 | 0 ratings
Gasmask Revival
Heavy Metal 2002
.. Album Cover
0.00 | 0 ratings
We Carry On
Heavy Metal 2003
.. Album Cover
0.00 | 0 ratings
Mechanical Mind
Progressive Metal 2012

VOIVOD movies (DVD, Blu-Ray or VHS)

.. Album Cover
4.50 | 1 ratings
Voivod - D V O D 1
Thrash Metal 2005
.. Album Cover
3.50 | 1 ratings
Tatsumaki: Voivod in Japan 2008
Thrash Metal 2009

VOIVOD Reviews

VOIVOD Angel Rat

Album · 1991 · Progressive Metal
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One of those albums where everything just feels off… except after repeated listens, I have determined this to be quite intentional, and done in the best way.

You see, Voivod get bored easily, and they had already been down many musical avenues, and pushed the limits of music (and their own abilities) multiple times. On Killing Technology, they showcased the extent of how fast, aggressive, and technical they could play. On the following Dimension Hatross and Nothingface, they were at the forefront of slightly avant-garde Progressive Metal, making albums quite bizarre in musical structure, showcasing complex songwriting ability. And now we have Angel Rat, which at first listen just sounds like them giving up on trying to prove anything anymore. Only faint glimpses of their progressive technicality remain on what is almost a poppy, Post-Punk inspired Alternative Metal album.

I was disappointed at first, as I think anyone would be. But something about the album kept me coming back, and I realized something. Voivod have transcended using technical speed or complex songwriting. They are taking the term “progressive” to a new frontier here, and focusing on creating very complex, ever changing MOODS. If you can imagine a mood having an odd time signature, this is absolutely it. Every song here, despite having relatively simple instrumentation and structure, jumps between some of the most schizophrenic, bipolar moods I’ve ever heard, all without janky start-stop instrumental tricks. The songs flow as smoothly as pop songs, and although the instrumentation can actually be quite intense and complex at times, you wouldn’t really know it without focused listening.

They place the most normal tracks at the beginning. As long as you weren’t listening to the lyrics (which are beyond strange) you could convince yourself that the first 5 tracks were all normal, though they just don’t sound right for some reason… And were those double bass Thrash beats playing under the chorus at the end of Clouds in My House? That’s right, this IS a metal album after all, and don’t forget it!

Track 6, Twin Dummy, is where you could no longer convince yourself this album is normal. The way Snake anxiously yells “The circus left without me!” and then sinisterly muses “And I’m alone with you now…” is unnerving to say the least, especially surrounded with off-kilter lyricism about carousels, dummies, and whatnot. From here on out it becomes more obvious that there is something wrong with this album.

The title track, Angel Rat, capitalizes this best. The opening line “The idiot walks along the canvas…” as Snake then paints a dark and unnerving picture much like the album cover. Gloomy, ominous chords and soft spoken vocals shake through this hideous landscape of darkness and hopelessness… and then a sugary sweet, smooth chorus kicks in about how nice flying away would be. At first this chorus kind of ruined the song for me, but after sitting with it, I totally get it. The figure in the song is an idiot precisely because they still have this innocent, childlike hope of flying away from this horrid picture. Yet they are painted into the canvas just as everything else is. They are stuck there for eternity. The question “rat or angel, does one really know?” is such an interesting comparison. They aren’t comparing good or evil. They’re comparing something significant, powerful, and bright, with a wholly insignificant pest (that cannot fly, mind you). The song is a masterpiece in cryptic writing and mood distortion, and the rest of the album walks the same line.

There are a couple other factors that make this album work so well. For one, I’ve always maintained that Snake’s yells are much better than his singing, and that was a big reason why Voivod’s duo of Prog albums weren’t as great for me. But here, Snake’s vocals are perfect. Not that he’s improved much, no… rather, his shaky, strained voice works wonders for the kind of atmosphere they’re going for here. He’s got an anxious tone to his voice that shines through even during the poppy choruses, and this makes them catchy but never anthemic. Even when he sings smoothly, like in Clouds in My House or Angel Rat, it just doesn’t sound right, and that is precisely why this album succeeds in such simple verse chorus format. The drumming is another fantastic element here. Usually it’s pretty simple, but never boring, and best of all, more than occasionally it just breaks out into full on double bass metal beats. However, the drumming is pushed low in the mix so that it never overpowers the music, and it really serves as another backbone of hidden elements you wouldn’t appreciate unless you listened intently for it. Layered guitar melodies, vocal harmonies and atmospheric soundscape textures work the same, hidden at first listen but uncovered after due attention.

This album is a massive grower and has so much to offer to those willing to delve into the depths of its dark, demented canvas. Voivod have successfully taken progressive music to a new level!

VOIVOD Killing Technology

Album · 1987 · Technical Thrash Metal
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"Killing Technology" is the 3rd full-length studio album by Canadian, Quebec based progressive thrash metal act Voivod. The album was released through Noise Records in April 1987. It´s the successor to "Rrröööaaarrr" from 1986. The original vinyl version of the album only features 7 tracks, while the cassette and the CD versions feature the two tracks from the 1987 "Too Scared to Scream"/"Cockroaches" single as bonus material.

"Killing Technology" marks a change in Voivod´s sound from the raw punked thrash/speed metal of the two predecessors to a techncial/progressive thrash metal sound. There is still the odd nod towards raw and unhinged sounding hardcore punk, but Voivod have generally opted for a more sophisticated playing and writing style on this album. Most tracks are long and structurally adventurous, and it´s interesting how much Denis "Piggy" D'Amour´s guitar riffs and writing ideas have evolved over such a short period of time, and how much the increased dissonance and unconventional chord progressions change Voivod´s sound.

Lead vocalist Denis "Snake" Bélanger still sounds right out of a hardcore punk group, singing raw shouting vocal lines, but even he has added an extra layer to his delivery, singing more varied and even at times hitting a semi-melodic note. His voice and vocal style will probably always be an aquired taste, but his rather distinct sounding style arguably brings an original touch to that part of Voivod music.

"Killing Technology" features sci-fi themes lyrics and imagery, and the alien nature of the music itself fits perfectly with the sci-fi themed lyrics. The often space like coldness of the music and the robotic sound effects on Bélanger´s voice on the title track even further enhances the feeling of being aboard an alien space ship travelling the universe. "Killing Technology" features well written and relatively varied tracks. To my ears the original vinyl tracks are the main attractions, while the two CD/cassette tape bonus tracks sound slightly out of place and actually disrupt the flow of the album. Tracks like the title track, "Forgotten in Space", and "This Is Not an Exercise" are killer material, featuring a great balance between the raw and thrashy and the sophisticated and proggy, but more immedate tracks like "Tornado" and "Ravenous Medicine" are no less intriguing.

"Killing Technology" features a raw yet detailed and powerful sounding production job, which suits the material perfectly. So upon conclusion it´s through and through a high quality release by Voivod. To this day I´m still not sure how Voivod were able to create such a unique sound and even pull off selling a decent number of copies of this album. Even more admirable they were able to build a career writing and playing music that is as far from being mainstream as you can possibly get. A huge achievement in my book...A 4.5 star (90%) rating is fully deserved.

VOIVOD The End of Dormancy

EP · 2020 · Progressive Metal
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"The End of Dormancy" is an EP release by Canadian progressive/thrash metal act Voivod. The EP was released through Century Media Records in July 2020. It´s a 3 track, 22:31 minutes long release, featuring a version of "The End of Dormancy" from "The Wake (2018)" (the band´s preceding album release) with added trumpets, saxophone and trombones titled "The End of Dormancy (Metal Section)", a live version of the same track and a live version of "The Unknown Knows" (the studio version of that track is featured on "Nothingface (1989)"), recorded at Montreal Jazz Fest 2019. A video was also released for the new brass version of "The End of Dormancy".

The inclusion of the brass arrangement to "The End of Dormancy" works really well and gives the song a bombastic quality. Voivod experimentet with string arrangements on "The Wake (2018)" (on "Iconspiracy" and on "Sonic Mycelium") and now with a brass arrangement on "The End of Dormancy", see them come out as victors. I´d not give that trend up just yet as those experiments definitely provide some spice to Voivod´s already adventurous songwriting approach. The live version of "The End of Dormancy", which also features the brass arrangement, and the live version of "The Unknown Knows" are both well performed and both also feature a good quality live sound.

Listening to the same track twice on a release (although in two different versions), is seldom something which pleases my ears and I can´t say this EP changes that. So while the quality of the performances, the material, and the sound quality of both the studio track and the two live tracks are of a high quality, the EP as a full listening experience does suffer slightly from the live version of "The End of Dormancy" directly succeeding the studio version on the tracklist. I think it would have worked better if "The Unknown Knows" had been placed between the two versions of the title track. So there´s nothing wrong with the content of the release, but a good tracklist flow is important too, and that´s where this EP score low. A 3.5 star (70%) rating is still fully deserved.

VOIVOD Nothingface

Album · 1989 · Progressive Metal
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As someone who much prefers Voivod’s true Thrash days, this is a hard album for me to rate. What Voivod were doing in their career with this and their previous album was pretty much unprecedented. No one had really combined Tech Thrash Prog Metal with weirdo avant-garde intricacies yet. Hell, there were barely any normal Prog Metal bands at the time. Voivod were already living in the 2000’s by the time they recorded Nothingface.

And yes, it is as interesting as it’s made out to be. Everything about it is odd in a very well done and endearing way. Never too odd to make it unapproachable (it was actually by far their catchiest album upon release) but always packing enough surprises to keep in interesting. The songs stand out with memorable riffs and some surprisingly catchy hooks, but they are all so odd that you never really get them memorized. There’s always something new to catch.

The weaknesses here are that there are a lot of start-stop tactics that just fracture the listening experience. They seem to change tempos and rhythms with the purpose of jolting you. Since they go for a much more melodic sound here, it’s really not enjoyable to be jolted and thrown when getting into some of the fantastic melodies and rhythms they lay down. Missing Sequences is a prime example of this; most of the song features speedy drumming and some of their best lead guitarwork to date, with some fantastic harmonized riffs. And then there are segments where everything just stops, ripping you from the trance they had crafted. Maybe to some this is an extra interest factor, but it takes away a lot for me.

Snake is also much better at doing harsh yells than singing. Another point their true Thrash days have over this.

VOIVOD Dimension Hatröss

Album · 1988 · Technical Thrash Metal
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Voivod's always been in their own metallic science-fiction world, ignoring trends that come and go for the most part. Even with a dud here and there, I know I'm always going to get an album that sounds like Voivod and only that.

I've never been able to pick between Killing Technology and Dimension Hatröss as my favorite album, the former nails a cold and caustic sci-fi thrash world, while Hatröss is Voivod's take on more melodic thrash where hooks rule.

Songs like Chaosmöngers and the sweet titled Macrosolutions to Megaproblems have some of thrash's most infectious choruses, and Chaosmöngers will often randomly start playing in my head, as a testament to its catchiness. Despite his unique nasally snarl, Snake can sing great melodies, but with his own twist to compliment Piggy's dissonant thrash riffs and solos.

After eight songs of sci-fi thrash, the album closes out with a cover of the 60's Batman theme song. It's a lot of fun, something that all the best thrash bands remember to have. After this album, the band would go in a direction closer to just spacey heavy metal before bringing thrash back in the mid 90's.

VOIVOD Movies Reviews

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