This is a weird one… Of course it’s fitting for a positively geeky band like Voïvod to cover an old-school sci-fi theme. It’s an entertaining novelty if nothing else, but really doesn’t result in a compelling piece of music. Instrumentally, I like how they’ve made it into something that could’ve come from their own catalogue (if said catalogue were more major-key), and the instruments create a rather ominous atmosphere in “Victory Theme”, in ... read more

In their most progressive works, Voïvod haven’t so much as attempted to hide their love for free jazz and even classical music. From the fusion-filled 1988 that graced our ears with “Dimension Hatröss”, over the sophisticated, intellectual 1989 and its “Nothingface”, all the way to “The Wake”, their modern-day avant-garde spectacle, this band had endured several changes in lineup and in style, but time and again returned to those jazzy ... read more

In the months anticipating their sophomore full-length Voïvod were introduced to a new continent’s market when they were signed to Noise Records. Having done so, they saw fit to come out with a minor release to give the newly-acquired audience a taste of what “Rrröööaaarrr” would ultimately become.

The Québécois fit right in with the era’s homegrown German bands. While not as outwardly brutal, not aligning much with the then-nascent ... read more

The promotional “Angel Rat Sampler” EP came out a bit before the “Angel Rat” album itself and contained four songs, all of which would make it onto the LP. The first half features remixed versions of “Clouds in My House” and “The Prow”. While the latter is a rather good track, I find it the least memorable moment on here - Voïvod are excellent composers, but something has to come in last - whereas the former is the best. The remixes, ... read more

At the turn of the century, many ‘80s bands (those that hadn't succumbed to various pressures) were experimenting with alternative, groove, industrial metal, and others. Voïvod was no exception, but in the 20th century’s final year, they chose to release a treat for the old-school fans as well.

MusiquePlus was a Québécois television channel that operated from Montreal starting from the mid-1980s. It featured music videos, and had special segments for ... read more

In 2013 Voïvod have once again asserted themselves as persistent innovators in the realms of thrash metal and progressive metal with the incredible “Target Earth”, having found Daniel “Chewy” Mongrain to fill the shoes of the late great Denis “Piggy” D’Amour (R.I.P.). However, only the following year, Jean-Yves “Blacky” Thériault left the band once more due to managerial issues, putting Voïvod’s future in question once ... read more

This obscure little piece of music was released in September 1988 by “Sounds”, a now defunct promotional music magazine that was based in the UK, in an effort to spread forms of music such as punk, alternative, and metal.

The EP’s first side, focusing on hard rock, opens with the great “Open Letter (to a Landlord)” by the NYC alternative rock/metal band Living Colour. Corey Glover’s singing brings a grunge-like, melancholy yet hopeful and determined mood, ... read more

The 20th century’s twilight could've been a time of stylistic innovation or of monotony & stagnation, all depending on who you ask. When it comes to thrash bands, there certainly were outfits such as Sodom and Testament ushering in a revitalization of the genre, but many others were stuck in a rut of sorts. As for Voïvod, their path throughout the ‘90s was unique and prolific, but signs of decline are inevitable in a nearly twenty-year career.

“Voivod ... read more

Come November of 2020, the COVID pandemic was less than a year old, but had already flipped the world upside down. Seemingly unending lockdowns made a real challenge of finding something meaningful to do. Luckily, even though Voïvod couldn't release a full-on new record yet, they came through with “Lost Machine - Live”, a recording of their seventy-five minute set in Québec City from July of the year prior.

Had they released live recordings of just their ‘80s ... read more

The year 1998 was a troublesome time for Voïvod: they’d been reduced to a power trio in a time that seemed to have left the old guard of metal behind. Additionally, bassist and vocalist Eric “E-Force” Forrest got seriously hurt in a traffic accident; however, all of this didn’t stop them from releasing another record. In fact, it might’ve actually motivated this release in order to show that they weren’t out of the ring just yet. The resulting album was, ... read more

For all intents and purposes, “Morgöth Tales”, which is often dubbed Voïvod’s sixteenth studio album, functions as their latest compilation instead. It was assembled according to a very neat concept of re-recording one track per album, covering some two decades of Voïvod history, and I am very pleased with the chosen songs.

The album actually opens with the great piece of primal, old-school yet uniquely Voïvodian thrash called “Condemned to the ... read more

By 1992, Voïvod had gone through several stylistic changes, making six full-length albums all featuring the same lineup. “The Best of Voïvod”, the first of a few compilations, catalogues the band’s sound from their very inception, selecting two or so songs from each record.

The band’s debut unfortunately has only one song on this compilation: the opener, “Voïvod”. It’s a song rightfully considered iconic for its infectious, rabid ... read more

Over the decades, Voïvod have released a number of compilation albums, with 2017’s “Build Your Weapons…” being their biggest one yet. The concept is quite well-executed, including select cuts from “Rrröööaaarrr”, “Killing Technology” and “Dimension Hatröss” over its titanic ninety-seven minutes.

The chronological progression very much works in this album’s favour: starting with their savage, primal ... read more

“Synchro Anarchy” closes out the trilogy of albums that marked Voïvod’s return to form and mirrored their finest hour, that of course being their 1987-89 run of albums. In a way, it mimics “Nothingface”, having less of an outwardly aggressive and bold sound than its predecessors did, but nonetheless maintaining a thinned-down thrash metal undertone.

“Paranormalium” - a good, sort-of-thrashy-sort-of-not composition - blows the door open to this ... read more

The ever-shifting landscape that metal was in the 20th century’s twilight years led many seasoned bands into writing and releasing many interesting cases: some good, more than a few bad, and some just completely out-there. “Phobos” is an album that falls squarely into the third category. The second and final record made by Voïvod as a power trio follows in the footsteps of its predecessor “Negatron” and its plethora of industrial grooves and breakdowns, but in ... read more

1989 was the fourth year in a row that saw full-length output from Canadian metal big shots Voïvod. And though time did grind on, seemingly leading thrash into oblivion, the creativity and vigour of the ‘80s wasn’t gone just yet, especially not from these guys.

“Nothingface” continues the precedent set by its predecessor in that it is even more polished and palatable. As is likely obvious before the first listen, the progressive rock influence (as well as that of ... read more

After decades of admittedly fruitful stylistic nomadicity, Voïvod have at last made the return voyage with 2013’s “Target Earth”. Now armed with new guitarist Daniel “Chewy” Mongrain, they’ve once again released a record comparable to the highest of their highs.

As a matter of fact, there exist a plethora of similarities between this album and “Killing Technology”, the first in Voïvod’s genre-defining trinity. As expected, ... read more

Voïvod’s sophomore album, released in the year often remembered as *the* year of thrash innovation, is much in the vein of their debut: it’s violent, frantic, and fuming with maniacal rage. At the same time though, it’s a degree more developed and thought-out, coming to resemble some of what’s soon to come.

“Rrröööaaarrr” is definitely grounded in speed metal and hardcore, however a noticeable step was made into overt thrash metal ... read more

“Angel Rat” was a big step for Voïvod. By 1991, they’d been softening their sound for a while, but never before had they completely turned their back on thrash metal, which had by then gone out of style. Having radically altered their modus operandi, they once again had a lot to prove.

Jean-Yves “Blacky” Thériault’s bass guitar and Denis “Piggy” D’Amour’s electric guitar riffs are far removed from what came before: ... read more

War and pain. The one that started it all is very crude and primitive compared to the rest of Voïvod’s opus. Having come from a quartet of kids who wanted to be Discharge while barely speaking any of the language they sung in, one wouldn’t expect it to be much good at all. But as it would turn out, it is.

In the very beginning, Voïvod just played whatever the hell they wanted, and did so with intense aggression and ferocity. Denis “Snake” Bélanger sings ... read more