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 3.33 | 26 ratings
War And Pain
Thrash Metal 1984
VOIVOD Rrröööaaarrr album cover 3.21 | 19 ratings
Thrash Metal 1986
VOIVOD Killing Technology album cover 4.13 | 35 ratings
Killing Technology
Technical Thrash Metal 1987
VOIVOD Dimension Hatröss album cover 4.27 | 42 ratings
Dimension Hatröss
Technical Thrash Metal 1988
VOIVOD Nothingface album cover 4.04 | 51 ratings
Progressive Metal 1989
VOIVOD Angel Rat album cover 3.74 | 28 ratings
Angel Rat
Progressive Metal 1991
VOIVOD The Outer Limits album cover 4.27 | 31 ratings
The Outer Limits
Progressive Metal 1993
VOIVOD Negatron album cover 2.85 | 15 ratings
Thrash Metal 1995
VOIVOD Phobos album cover 3.31 | 15 ratings
Thrash Metal 1997
VOIVOD Voivod album cover 2.91 | 11 ratings
Heavy Metal 2003
VOIVOD Katorz album cover 3.67 | 11 ratings
Heavy Metal 2006
VOIVOD Infini album cover 3.05 | 14 ratings
Thrash Metal 2009
VOIVOD Target Earth album cover 4.00 | 21 ratings
Target Earth
Progressive Metal 2013
VOIVOD The Wake album cover 4.37 | 11 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 3.87 | 6 ratings
Post Society
Progressive Metal 2016
VOIVOD The End of Dormancy album cover 0.00 | 0 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 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 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.


Album · 2018 · Progressive Metal
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"The Wake" is the 14th full-length studio album by Canadian progressive/thrash metal act Voivod. The album was released through Century Media Records in September 2018. It´s the successor to "Target Earth" from 2013 and features one lineup change as bassist Jean-Yves "Blacky" Thériault has been replaced by Dominic "Rocky" Laroche. Thériault´s second tenure with Voivod had not been without issues, and a change in personale was needed to keep the ship afloat. While it´s been 5 years since the release of "Target Earth (2013)", Voivod have not been dormant in the intermediate years, but have released a string of minor releases (singles, splits, and EPs), a compilation album, and a boxset, and they have toured quite a lot too.

"The Wake" continues the sci-fi themed progressive metal style of "Target Earth (2013)" and feels like a natural successor (although "Target Earth (2013)" is overall a little more raw and thrashy). It´s through and through the sound of Voivod. Creative dissonant guitar riffs and jazz/fusion influenced guitar solos, heavy bass lines, organic drumming, and lead vocalist Denis "Snake" Belanger´s distinct sounding vocals in front. Voivod were never an easy or accessible listen, and they haven´t eased up on the oddities or the adventurous and challenging songwriting on "The Wake" either. The surprise element may be gone after all these years (although the successful use of a string quartet on "Iconspiracy" and "Sonic Mycelium" definitely is something new in the Voivod universe), but Voivod are still a force to be reckoned with, both musically and creatively.

Voivod have been through some different musical phases in their long career and if I have to compare the sound and atmosphere on "The Wake" to something else the band have released, if would be a combination of the three albums released in the years 1989-1993. The music on "The Wake" features some of the odd and twisted musical ideas and dissonant riffs of "Nothingface (1989)", the occasional melodic moment similar to "Angel Rat (1991)", and the sci-fi atmospheres and storytelling of "The Outer Limits (1993)". There aren´t that many thrash metal elements, although "The Wake" is occasionally a pretty heavy release.

"The Wake" features a powerful, organic, and detailed sounding production, which suits the material on the 8 track, 55:57 minutes long album perfectly. It´s not an album which grapped me immediately and it took a few spins to sink in and for me to be able to tell the tracks apart, but given a few spins it´s a very rewarding release, featuring many details and intriguing musical ideas. I haven´t always been impressed with Voivod´s post-2000 output, but they managed a return to form with the release of "Target Earth (2013)" and with "The Wake" they prove that the high quality of the direct predecessor wasn´t a one-off. In fact I think "The Wake" may even be a step up in quality from the predecessor and a 4 star (80%) rating is deserved.


Album · 2018 · Progressive Metal
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siLLy puPPy
Like any great band that has been around for well over three decades, Quebec’s best progressive thrash metal export VOIVOD has gone through its own ups, downs and serious changes ever since they emerged in 1982 out of the frigid northern Canadian city of Jonquière. Haven taken the metal world by storm in the late 80s with their unique blend of dissonant progressive punk laden thrash that forged a new strain of sci-fi based metal with classics like “Killing Technology,” “Dimension Hatröss” and “Nothingface,” VOIVOD created its own distinctive style that has literally slinked by through the decades with no other band even coming close to emulating. VOIVOD in effect created their own mini-universe that found the perfect mix of dissonant King Crimson inspired guitar riffs and Pink Floyd inspired psychedelia dished out in an unduly Motörhead meets Venom belligerence all the while wrapped up in conceptual tales of cyborgs and futuristic dystopia. In effect, VOIVOD was and remains one of a kind despite all the trials and tribulations of weathering a multi-decade career. And well into the 21st century is back with the much anticipated 14th studio THE WAKE. The cryogenic slumber is over.

While VOIVOD’s history includes the usual melange of music biz woes such as members coming and going throughout the years, perhaps no blow was as devastating as losing one of the founding members whose signature sound literally defined the band from a mere pluck of a power chord. Denis D’Amour or better known as Piggy practically trademarked VOIVOD’s anarchic and experimental thrash metal idiosyncrasies more than any other members so when he succumbed to colon cancer in 2005 at the tender age of 45 years, it was indubitably a painful time for the band and easily could’ve spelled the ultimate end of the road for this classic unparalleled metal band. However instead of making any rash decisions during the mourning process, founding members Michel Langevin (Away) and Denis Bélanger (Snake) took some time to honor the memory of their fallen guitar hero with a couple albums of material that had already been written with guitar parts already recorded by Piggy and waited to see how it all played out. Two albums, “Katorz” and “Infini” found posthumous releases of Piggy’s guitar playing which the band recorded as a tribute to Piggy’s legacy but in order to sally forth into the next chapter, a new guitarist was essential. How could a band continue when their signature member was no more?

With Piggy’s art-metal riffage as his primary driving force to become a guitarist and musical innovator, fellow Quebecker Daniel Mongrain (now Chewy) of Trois-Rivière luckily grew up as one of VOIVOD’s most rabid fans and early on learned how to play the band’s entire canon of music. Having become the seasoned tech metal guitarist in blistering bands such as Martyr, Gorguts and Capharnaum as well as boasting a degree in jazz-interpretation from the University of Montreal, Mongrain proved to be the perfect gift from the gods to give VOIVOD the chance to fill the unfillable shoes of the great Piggy. While armed with that secondary degree in VOIVOD-ology, Mongrain, um Chewy that is, was also the band’s biggest fan and in a respectful fashion forged the perfect marriage of marrying Piggy’s legacy with the next chapter that would propel VOIVOD into the 21st century. While his debut performance with the band began with “Target Earth,” he wasn’t exactly given free reign yet to unleash his magic. After that album’s lackluster performance, the members agreed that something needed to change to make this transition gestate to the next level and what better way to honor the great Piggy’s legacy than to honor the period that most suited him, namely the progressive thrash era of the late 80s that found their most successful album “Nothingface” catapulting VOIVOD onto the world’s stage.

The new VOIVOD was born in 2016 with founding members Snake and Away at the helm and Daniel Mongrain, now Chewy in charge of the future direction of the guitar. Along for the ride was newbie bassist Dominque Laroche who was christened as the fledgling Rocky and together this new incarnation recorded and released the EP “Post Society” which was an advertisement of VOIVOD’s long lost return to progressive form with thundering dissonant guitar riffs that would make Piggy proud, chugging interstellar beats, progressive meanderings into time signature rich frenzies that all conspire to take post-punk detours into psychedelic dreams and of course Snake’s distinct, now classic vocal rampage through the technically infused thrash metal domain. With unprecedented almost unanimous praise, the lauded EP begat the next phase of VOIVOD’s triumphant return to form. Two years later we arrive at the magnificence of what is called THE WAKE, which in the footsteps of “Post Society” successfully takes the progressively fueled sci-fi journey back into the cosmos and dishes out VOIVOD’s best album since 1989’s “Nothingface.” A whopping 36 years after their humble inception, VOIVOD are back on top of their game!

Right from the first sound effects of “Obsolete Beings” that breaks into a galloping wallop of thrash dissonance, it’s clear that VOIVOD have crafted a winner with THE WAKE. With the classic elements all having fallen into place, the band build upon their progressive thrash phase with more adventurous compositions, more daring ventures into quieter moments and even the unthinkable terrain of classically inspired orchestral moments with six guest musicians adding touches on violins, viola, cello, extra percussion and even bones! However don’t be mistaken for a minute that VOIVOD has mellowed out. These extra touches provide atmospheric touches above and beyond the psychedelia and thrash outbursts that dominate THE WAKE. Don’t forget that “Nothingface” contained many riffs that were inspired by Igor Stravinsky’s “The Rite Of Spring.” Likewise THE WAKE implements classical and jazz techniques that supplement the main metal framing and are secondary to the majestic classic VOIVOD sound that has become so utterly irresistible. Each track is unique and utterly anthemic in that the eight compositions highlight the classic sound while evolving it into a whole new reality.

With their musical chops brought up to date, VOIVOD also relaunch their sci-fi fueled lyrical fantasy world with tracks like “The End Of Dormancy” narrating the tale of an underwater alien craft that is resuscitated after millions of years of dormancy and once reconstituted immediately begins to destroy the entire human race. The musical accompaniment is in sublime tandem with the lyrical output as the segments highlight the emotional response and one progressive unit segues into the next. It’s hard to come up with a standout track because the fact is that ALL of the tracks stand out as each is intricately crafted to carry the maximum amount of variations allowed by law. Never before has VOIVOD generated so many disparate ideas and musical elements into their works. THE WAKE is by far their most progressively infused offering to date and easily surpasses their best works of the 80s in terms of complexity and adventurous ambitiousness. In fact, THE WAKE is like the soundtrack to a sci-fi battle where the music itself narrates the dramatic exchange of fire with the lyrics merely defining the context.

While every track is unique and tells the tale of this VOIVOD inspired apocalyptic multiverse, the highlight is saved until the end where the multifarious “Sonic Mycelium” provides a progressive jazz metal reprise of the entire album’s creative stampede with one incessant curveball after another. In an age when classic metal bands are entering their multi-decade existence, very rarely does a band match the creative prowess of the heyday especially after the loss of the prime move and shaker that made them stand out in the first place, but VOIVOD has crafted the unthinkable late game masterpiece that is actually more creative, more dynamic and more labyrinthine than any other album of their career including their previous peak of progressiveness of three decades prior. It seems that VOIVOD have been given the gift of a perfect chemistry of the cast members as this album is utterly flawless. The chemistry of the musicians is absolutely divine and the band interplay is impeccable. THE WAKE is a multi-faceted masterpiece. It not only has the hooks to sink deep into your skin upon the very first listen but has the chops to allow the listener to burrow ever deeper on subsequent listens to decipher the unfathomable trenches for exploration. So profound is THE WAKE that i do believe this is my unquestionable best metal album of 2018!

VOIVOD Killing Technology

Album · 1987 · Technical Thrash Metal
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In the short time span of a year following Voivod's second album the band reinvented themselves drastically and almost frighteningly well in time for their third release. It marked a short lived second generation of Voivod, one that mediated the hardcore punk infused, lo-fi thrash that they represented in their earliest years, and the eccentric and boundlessly creative prog thrash that would garner the group their most popular image. Thus Killing Technology represents a half-and-half mix of both sides, still bearing anarchic similarities to Rrröööaaarrr but also bearing the fruits of a more technical, progressive edge in its earliest Voivod incarnation.

The actual music of Killing Technology though is, at times, hard to swallow, and it's not hard to see why it can be polarizing to some. The riffing is obviously enthusiastic and full of youthful energy, but it's also rather unmelodious and rather unpleasant (the metal kind, more as in interesting than bad) at times. The searing scratch of the guitar can broadside the vocals at a completely different melody to what Snake is singing, creating at times an almost black metal vibe such as on songs like 'Tornado'. To counter this, Piggy's guitar can rip into a battering crunch that blends perfectly with the even faster and furious drumming but also the heavy twang of Blacky's bass creates a monstrous, pulse-pounding combo. Not only this but with the unspoken quasi-concept of the dark and horrifying unknown side of space attached like a tag onto many of the songs does well to give Killing Technology an almost alien feel comparative to many of the bands other releases. This is of course what gives Voivod such uniqueness as it hits home the point that very few Voivod releases sound similar, giving the band an ever-present freshness that many other bands of their caliber could not achieve.

Nonetheless it cannot be denied that Killing Technology was the mark of a truly upward slope in quality for Voivod, it terms of quality, creativity, and overall success. One of thrash and prog metal's biggest names are on the fast-track to the upper echelons of greatness and it seems nothing can stop them.

VOIVOD Movies Reviews

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