GOJIRA

Death Metal / Progressive Metal • France
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Gojira is a progressive death metal band from Bayonne, France. Their lyrics focus on life, ecology, and spiritual themes. They were formed in 1996 by brothers Joe Duplantier (vocals and lead guitar) and Mario Duplantier (drums), Christian Andreu (guitar) and Jean-Michel Labadie (bass guitar).

They had initially named their group Godzilla, but due to legal constraints had to change their name. They therefore chose to re-name their band Gojira - the original Japanese version of their name (in Japanese Gojira means gorilla-whale or gorilla the size of a whale). Some of the content of their music is focused on the ecological effects of human activity on the Earth.

Joe and Mario Duplantier also play in an experimental metal band called Empalot. In 2007 Joe also became the bass player for former Sepultura members Max and Igor's project, Cavalera Conspiracy.

Thanks to graphix, UMUR, umur, Vim Fuego for the updates

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GOJIRA Discography

GOJIRA albums / top albums

GOJIRA Terra Incognita album cover 3.49 | 19 ratings
Terra Incognita
Death Metal 2001
GOJIRA The Link album cover 3.81 | 19 ratings
The Link
Death Metal 2003
GOJIRA From Mars to Sirius album cover 3.83 | 44 ratings
From Mars to Sirius
Death Metal 2005
GOJIRA The Way of All Flesh album cover 4.06 | 42 ratings
The Way of All Flesh
Death Metal 2008
GOJIRA L'Enfant Sauvage album cover 3.77 | 24 ratings
L'Enfant Sauvage
Death Metal 2012
GOJIRA Magma album cover 4.07 | 14 ratings
Magma
Progressive Metal 2016
GOJIRA Fortitude album cover 3.66 | 8 ratings
Fortitude
Progressive Metal 2021

GOJIRA EPs & splits

GOJIRA Maciste All Inferno album cover 5.00 | 1 ratings
Maciste All Inferno
Death Metal 2003
GOJIRA Gojira/Kvelertak Live album cover 4.25 | 2 ratings
Gojira/Kvelertak Live
Death Metal 2013

GOJIRA live albums

GOJIRA The Link Alive album cover 4.50 | 3 ratings
The Link Alive
Death Metal 2005
GOJIRA Les Enfants sauvages album cover 5.00 | 2 ratings
Les Enfants sauvages
Death Metal 2014

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

GOJIRA Victim album cover 5.00 | 1 ratings
Victim
Death Metal 1996
GOJIRA Possessed album cover 4.00 | 3 ratings
Possessed
Death Metal 1997
GOJIRA Saturate album cover 5.00 | 1 ratings
Saturate
Death Metal 1999
GOJIRA Wisdom Comes album cover 5.00 | 1 ratings
Wisdom Comes
Death Metal 2000
GOJIRA All The Tears album cover 5.00 | 1 ratings
All The Tears
Death Metal 2008
GOJIRA Vacuity & A Sight To Behold album cover 5.00 | 1 ratings
Vacuity & A Sight To Behold
Death Metal 2008
GOJIRA L'Enfant sauvage album cover 5.00 | 1 ratings
L'Enfant sauvage
Death Metal 2012
GOJIRA L'Enfant Sauvage Tour - Live In Europe 2012 album cover 5.00 | 1 ratings
L'Enfant Sauvage Tour - Live In Europe 2012
Death Metal 2012
GOJIRA Explosia album cover 5.00 | 1 ratings
Explosia
Death Metal 2012
GOJIRA Live At The Studio At Webster Hall, NYC 8/14/12 album cover 5.00 | 1 ratings
Live At The Studio At Webster Hall, NYC 8/14/12
Death Metal 2012
GOJIRA 2014 Tour Sampler album cover 5.00 | 1 ratings
2014 Tour Sampler
Death Metal 2014
GOJIRA Silvera album cover 5.00 | 1 ratings
Silvera
Progressive Metal 2016
GOJIRA Stranded album cover 5.00 | 1 ratings
Stranded
Progressive Metal 2016

GOJIRA re-issues & compilations

GOJIRA singles (4)

.. Album Cover
5.00 | 1 ratings
Indians
Death Metal 2003
.. Album Cover
5.00 | 1 ratings
End of Time
Death Metal 2011
.. Album Cover
5.00 | 1 ratings
Of Blood and Salt
Death Metal 2011
.. Album Cover
4.25 | 4 ratings
Another World
Progressive Metal 2020

GOJIRA movies (DVD, Blu-Ray or VHS)

.. Album Cover
5.00 | 2 ratings
The Link Alive
Death Metal 2004
.. Album Cover
5.00 | 1 ratings
The Flesh Alive
Death Metal 2012

GOJIRA Reviews

GOJIRA The Link

Album · 2003 · Death Metal
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Necrotica
Something I’ve always found a bit perplexing about The Link is that there’s not much backstory behind it. Gojira’s debut Terra Incognita has plenty of interesting tidbits to its name, such as how frontman Joe Duplantier lived in a secluded cabin for two years while coming up with inspiration for the record, or how the interlude “04” was intended by Joe and his brother Mario to be a birthday present for their mother. But The Link is… just The Link. Even the cover art - while indicative of the more tribal elements on the record (we’ll get to that) - is very unassuming. As such, its popularity and significance are often dwarfed by the records that sandwich it. Terra Incognita is the brutal and aggressive fan-favorite debut, and From Mars to Sirius is the breakthrough album that brought them significant acclaim in the wider metal community. But that doesn’t mean we should be forgetting about The Link.

Not in the slightest. On top of being a necessary stepping stone for Gojira’s progression, it’s also quite possibly the strangest and most experimental record of theirs to date. You’ll find the usual helping of groovy chugs and double bass worship, but it’s all topped off with the aforementioned tribal elements as well as a more “mystical” overall vibe. Right from the title track, you’re thrown into an otherworldly environment full of droning vocal inflections, hypnotic grooves, and wood block percussion; suddenly, the world crafted by Terra Incognita has expanded and become an even more diverse place to explore. Death metal sections are still present on The Link but they’re used much more sparingly this time around to make room for an expanding palette of influences. Whether it be the beautiful ambient interlude “Torii”, the doom metal-inspired riffs of “Inward Movement”, or the lengthy post-metal mini-epic that is “Dawn”, the unpredictability of The Link’s tracklist goes a long way in describing its appeal to anyone who’s a bit bored with the current iteration of the band’s sound.

Yet the surprise comes in just how well the songs flow into each other. You’d think so many disparate elements being put together would cause some massive consistency issues, but such is not the case with The Link. Even at this stage, Gojira were great at knowing what transitions and dynamics to use at the right times. A perfect example would be the one-two-three punch of “Connected”, “Remembrance”, and “Torii”. Technically, only one of these is a full-length song; however, all three of them flow into each other so well that you’d might as well treat it as one single eight-minute track. “Connected” opens up with some light tribal drumming that opens the gates for the death metal fury of “Remembrance”; in turn, the amazing breakdown of “Remembrance” fades out to set the stage for the lovely “Torii” to take place. Meanwhile, you can perceive “Wisdom Comes” as the band letting out their final blast of death metal aggression before the expansive and slow-moving “Dawn” moves in to bring The Link to a fitting close. While I’d argue From Mars to Sirius is even more well-constructed because it uses a concrete narrative to tie the songs together, this album is no slouch either.

As one would expect from a Gojira album, the performances here are absolutely stellar. Joe and lead guitarist Chrisian Andreu have wonderful chemistry together, especially on the heavier tunes. “Wisdom Comes” is especially noteworthy, as the duo perform dual tremolo-picked harmonies to create a sinister vibe that compliments the intense riffs nicely. Mario and bassist Jean-Michel Labadie are also perfectly locked-in on The Link, providing just the right balance of groove and technicality for those heavy songs while showing incredible restraint on the softer ones. In a 2005 interview with Hard ‘n’ Heavy Magazine, Mario said the sessions for the album represented “a period during which I wanted to play fast: I was starting to master well the grind parts and the double bass pedal”. This is definitely evident in fast cuts such as “Remembrance” and “Wisdom Comes”, which feature the most impressive double bass work and rapid-fire blastbeats that he’d ever played up to this point; the fact that the rest of the band could keep up and hold their own so well against his drumming is pretty damn impressive.

Admittedly, I’m quite tired of The Link being considered the red-headed stepchild of Gojira’s catalogue (well, according to the fanbase, it’s either this or Magma). It has a plethora of fantastic songs, a unique atmosphere, the most experimental writing of the band’s career, and some of their most technical and intricate playing to top it off. It set the stage perfectly for Gojira’s heyday, and it remains an incredible record in its own right.

GOJIRA Fortitude

Album · 2021 · Progressive Metal
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siLLy puPPy
Rising again like its namesake icon, the French extreme metal band GOJIRA is back with its seventh studio album FORTITUDE which finds the band further exploring hitherto unpursued sonic palettes like few others in the world of metal who more often than not become fairly cozy in a comfort zone. This head banging quartet of Joe Duplantier (vocals, guitar), Mario Duplantier (drums), Christian Andreu (guitar) and Jean-Michel Labadie (bass) has never been one to rest on its laurels and although GORJIRA has taken a somewhat more accessible, dare i say even more commercial route on its previous album “Magma,” somehow this quartet successfully maintains its core integrity of infusing the disparate metal subgenera of death metal, groove metal and alternative metal into one cauldron of hot steaming sonic sensationalism.

It’s been a five year break since “Magma” and the metal world has changed a lot getting even weirder and more diverse but somehow GORJIRA continues the path of exploring new sonic textures while maintaining the energetic chugging drive, extraordinary musical dexterity and metal hybridism. What’s new on FORTITUDE is that the band takes the previous alternative metal approach that debuted on “Magma” and branches out into myriad directions thus creating a delightful mix of moods, dynamics and rhythmic bombast unlike any other album in its canon. While the progressive excesses of the first two albums have long been tamped down as well as the epic progressive feel of the following pair of albums that followed, FORTITUDE still stays connected to all those previous eras while exploring a more varied range of timbres, tones, echo effects and production values.

While many have long written off this band as some sort of sellout, i personally find these later albums to be quite dynamic as they provide instantly catchy metal hooks in the classic sense while exploring various detours into moments of clean vocal progressive rock, Pantera-esque groove metal as well as the intense urgency of a Rage Against The Machine album most likely courtesy of engineer Andy Wallace who worked with that band as well as Nirvana thus giving that angry 90s grunge feel at times. And of course it wouldn’t be a GOJIRA album without a plethora of polyrhythms where barrages of guitar riffs, pummeling percussion and bantering bass grooves provide crushing metal monstrosities while Joe Duplantier brazenly belts out his soul crushing screams.

Perhaps the most noticeable difference for FORTITUDE is the production and the heavy uses of atmospheres which provides the perfect counterpoint to the galloping grooving guitar riffs and the incessant guitar sailing that accompanies. As far as tempo changes go, FORTITUDE may not embrace the chaotic free-for-all proggy complexities as “Terra Incognita” and “The Link” but still manages to squeeze in a few oddball time signatures between the steady rhythmic drive as well as delivering extreme curve balls as heard on the tribal percussion dominated title track accompanied by unorthodox wordless vocal harmonizing which actually serves as an intro to the following track “The Chant.”

When all is said and done i can totally understand why many may not be too thrilled with these easier listening experiences of GOJIRA when compared to the epic and experimental sounds of yore but as far as an accessible melodic metal album is concerned, GOJIRA does an excellent job keeping FORTITUDE engaging from beginning to end in my book. These songs are not only catchy but crafty and creative with subtleties that may require a few spins before really sinking in. I think i actually prefer this one to “Magma” as that previous album didn’t quite have the repeat visit enjoyability but this one has just enough ear wormy hooks to signify a respite into its majesty! While i wouldn’t call FORTITUDE my all time GOJIRA album by any means, i’m actually quite surprise how much i love this one. What will this monstrous band come up with next? Will we have to wait another five years? Chances are a new phase of the band will begin.

GOJIRA Fortitude

Album · 2021 · Progressive Metal
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Necrotica
The most immediate problem with Fortitude is that it really lacks a unique identifying “feature” compared to previous Gojira records. Terra Incognita had the raw death metal aggression, The Link had an experimental tribal feel, From Mars to Sirius had an ambitious conceptual feel, and so on. Somehow, Fortitude manages to sound like a synthesis of all of the band’s previous albums while lacking the sense of both wonder and impact they all had. Sure, the chugs and technical drumming still come out from time to time, but they’re buried beneath Gojira’s insistence on playing dull one-note riffs that linger for a little too long. It’s not like I’m resistant to the prospect of the band experimenting - again, The Link is a nice example of that - but it’s gotta be over a more interesting foundation than this.

For instance, the main riff of “Another World” is pretty cool; Christian Andreu’s lead guitar and Jean-Michel Labadie’s bass coil around each other to give off a strangely futuristic atmosphere. But then it all falls apart in the verses, which just consist of a boring chugging riff that doesn’t go anywhere interesting. It’s nice to hear Joe Duplantier still bringing the energy with his screams and growls, but they don’t matter much when the material itself is so lacking in heft and intensity. Meanwhile, some songs don’t even sound like they came from Gojira at all. When the a cappella harmonies of “Hold On” started, I had to look at my phone to make sure I was still listening to the same band. Indeed, Joe does perform a lot more clean vocals on Fortitude - these are most prominently heard on “Hold On”, “The Chant”, and “The Trails”. And, truth be told, Duplantier has really proven himself to be a capable clean vocalist over the last five years or so. The harmonies in “Hold On” are actually quite beautiful, despite the fact that the song eventually switches to a more typical groovy Gojira track halfway through.

What really drags this album down more than everything else, however, is the production. It’s quite strange that Duplantier is the same person who produced Way of All Flesh, as Fortitude has none of the same weight, atmosphere, or clarity in its mix. The guitars sound both muddy and unappealing in the chugging bits (the verses of “Amazonia” for instance), and really flavorless during the melodic sections (“The Trails” in particular). It also does no favors for Mario Duplantier, especially during the more technical tracks like “Grind” and “Into the Storm”. He performs some pretty amazing parts during these songs, but all I can think of is how much better they’d sound with a From Mars to Sirius-esque production job. Speaking of “Into the Storm”, that very song represents what kind of record Fortitude could have been; the track is a perfect mix of the band’s more heavy/technical traits and their melodic tendencies. Sure, the main drum part was lifted from “The Cell” off of Magma to an extent, but the riff played over it is one of the most beautifully melancholic parts I’ve ever heard from this group.

Fortitude is a strange affair, as its oddities tend to come from Gojira’s push toward a more simplistic and mainstream sound. On one hand, I suppose that makes it a logical step after the stripped-down music of Magma; on the other hand, it just doesn’t feel natural for some reason. The band’s willingness to step outside of their comfort zone is commendable, but if they’re keen on committing to this new sound of theirs, they need to give it a little more polish and focus. As it stands, Fortitude is a decent metal record. However, it doesn’t really offer anything that Gojira’s prior albums haven’t done better.

GOJIRA From Mars to Sirius

Album · 2005 · Death Metal
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Necrotica
"In some cultures, Mars symbolizes war and Sirius peace. I'm simplifying! It is a journey of a state of war, even if in France we are preserved, but it can be a war within us, in our flesh, in our mind, a war with ourselves" -Joe Duplantier, 2005

I think we need to take a moment to appreciate just how appropriate the cover art for From Mars to Sirius is to the music within. Gojira have never been ones to shy away from environmental themes, which they’d been exploring as early as 2001’s Terra Incognita. But the illustration of a whale travelling to a more peaceful world takes us right to the heart of their beliefs and ideals. As such, it also represents the first proper concept album for Gojira - one that relates the issues we face on a planetary scale to the greater concept of mortality. This relationship between internal conflict and external repercussions is what elevates From Mars to Sirius above the band’s previous outings; they already had the ingredients to make an era-defining album, yet they never could put them all together in such a stunning way until this record.

From Mars to Sirius is the product of several influences - Meshuggah, Pantera, Morbid Angel, Converge, and several others come to mind - but it doesn’t feel derivative in the slightest. It’s a testament to how well Gojira can use their own building blocks to their advantage, as the personality and charm of the record compliment the crushing riffs and harsh vocals perfectly. And when I say crushing, I do mean crushing. Despite most of the songs being in standard D tuning, they manage to crank out a thicker and weightier sound than most of the deathcore and djent bands playing in much lower tunings. This can largely be attributed to the presence of the underrated Jean-Michel Labadie, whose bass work provides a wonderfully heavy undertow to Joe Duplantier and Christian Andreu’s relentless guitar assaults. Combined with the technical and highly impressive drumming of Joe’s brother Mario, there’s always the sense that the band is just “locked in”, no matter how much the album threatens to go off the rails. The chemistry here is undeniable, and it’s pretty easy to guess why the group haven’t had a lineup change since their very first record.

But a lot of this can be said about the previous two records as well. What really puts From Mars to Sirius in a higher echelon is the incredible focus that went into the songwriting. It is true that a few parts can meander once in a while - the 66-minute runtime could have been trimmed by about five minutes or so - but when the band are firing on all cylinders, the result is both brutally heavy and utterly entrancing. “Ocean Planet” immediately sets the scene, as faint whale calls are met with a grinding sludge-oriented riff; doomy, yet captivating and even melodic. This song tells us a lot about the album we’re about to hear: pounding riffs combined with a heavy dose of atmosphere, near-pristine production values, and the band’s most ambitious lyrics to date. That’s not to say their technical abilities have waned in the slightest though, as heard in more turbulent cuts such as absolute barnburners “The Heaviest Matter in the Universe” and “Backbone” or the epic, progressive stylings of album centerpiece “Flying Whales.” The latter is especially noteworthy as it really puts every facet of the band’s sound on display. The beginning sees us traversing a beautiful soundscape filled with the aforementioned whale calls, before plunging us into some of the heaviest grooves on the entire album; finally, the last section of the track throws in all the weird time signatures and varied rhythms to seal the deal. The whole song is like a summary of the band’s career, and it’s no wonder that it’s their most famous tune to this day.

While we’re talking about songwriting, it’s crucial to talk about just how well the lyrics and concept compliment the music itself. Not only does From Mars to Sirius tackle the theme of moving to a more peaceful place, but it also concerns the resurrection of the world we currently live in. While the heavier songs obviously present the more turbulent and intense moments of this “interplanetary quest” as it’s been dubbed, there are also slower tracks that present a more contemplative side. “World to Come” is very true to its title, using doomy melodic riffs and beautiful lead guitar playing to illustrate what our planet might eventually become, depending on the way we treat it. “Global Warming” hits a lot of the same lyrical notes while presenting a more hopeful tone, as the repetition of the words “we will see our children growing” closes out the record as a whole. Add to that some nice (if a tad repetitive) guitar tapping from our Duplantier/Andreu duo, and it’s a nice way to resolve a lot of the tension and conflicts of the story. And quite a few of the songs, such as “In the Wilderness” and “From the Sky”, seem to paradoxically marry brutal music with contemplative lyrics effortlessly. The band’s ability to blend so many disparate elements without sounding sloppy is really impressive, especially considering the ambition of this project.

That’s really what makes From Mars to Sirius one of the benchmarks for modern metal. It’s such a varied experience, yet it never strays too far from its core appeal. The riffs are brutal, the themes are thought-provoking, the songwriting is progressive and ambitious, the atmosphere is thick, the playing is super tight… and somehow all of this converges into one incredible experience. If you enjoy modern extreme metal or progressive metal, you owe it to yourself to listen to From Mars to Sirius at least once. Then again, given Gojira’s rapidly-increasing stature in today’s metal scene, chances are that you've probably heard it already.

GOJIRA The Link

Album · 2003 · Death Metal
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UMUR
"The Link" is the 2nd full-length studio album by French progressive/groove metal act Gojira. The album was released through Boycott/Next Music in April 2003. It´s the successor to "Terra Incognita" from 2001. The 2005 remastered Listenable Records re-release of the album is slightly different from the original version, as some intros/outros have been changed.

"Terra Incognita" was a rather typical debut release, as it featured material which were quite diverse and inconsistent in style and quality. It made for a raw and unpolished first impression of Gojira, and while "The Link" is not 100% consistent in style and quality either, it´s audible that Gojira have settled a bit more on a personal sound. The raw yet at times semi-melodic singing style is in place, the heavy angular riffs and rhythms in unconventional time signatures, the atmospheric sections, and the environmental/social issue lyrics are there too. Tracks like "The Link" and "Death of Me" could just as well have been featured on the next couple of albums, but as mentioned above the band hadn´t yet settled 100% into their own personal style, and tracks like "Over the Flows" and "Wisdom Comes" (which is the re-recorded title track from their 2000 demo) are relatively far removed from what Gojira would produce on their succeeding releases. That makes for a diverse but also a bit of an unfocused listen, and it´s probably an aquired taste if stylistic inconsistency is considered a strength or a flaw. In this case I tend to go with the latter opinion, because to my ears some of the tracks disrupt the overall flow of the album.

When that is said "The Link" is still a very impressive sophomore album by Gojira. The album features a professional, powerful, and well sounding production, the musicianship is on a high level on all posts, and the songwriting has improved greatly since the debut, so upon conclusion "The Link" is a high quality release although the adventurous ideas sometimes affect the flow of the album (which is especially the case with the last couple of tracks on the album). A 3.5 - 4 star (75%) rating is deserved.

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GOJIRA Shouts

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UMUR wrote:
more than 2 years ago
Because it´s not really neither and a discussion led to us moving them back to thrash.
Wilytank wrote:
more than 2 years ago
Wait, why is it thrash metal then?
graphix wrote:
more than 2 years ago
Moved to Death Metal. Thanks for having reported.
NorseGangsta wrote:
more than 2 years ago
I would suggest posting Gojira under death metal.

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