Voïvod’s “Infini” released in 2009, completing the stylistically strange trilogy of alternative/groove metal-esque albums. Although having come out nearly four years after Denis “Piggy” D’Amour’s passing, it still contains his contributions and he himself partially did the recording. It is, in its ethos, a rather perplexing album, truly a sign of the times for Voïvod: it blends motifs typical of a few different styles of rock and metal - ... read more

It’s tough to think of anything new to say when such a classic as “Killing Technology” is concerned. Rightfully hailed as a revolutionary record in progressive music, it carves a definite niche in the fertile soil of thrash metal that Voïvod would continue to resolutely populate to this very day.

From the title track’s opening moments, it’s clear this album is something unique and special. Voïvod’s foundational D-beat style is present in many ... read more

In 1995 Voïvod chose to take yet another stylistic left turn, this time incorporating a very industrial sound into their eighth album, “Negatron” - certainly a unique album in the mid-90s thrash scene, or at least what remained of it.

Among the changes made here is the brand new singer, Eric “E-Force” Forrest, possessing a more overtly gruff and aggressive style. Snake was, to me, a more dynamic vocalist and a perfect fit for the band; but said band was forced to ... read more

“The Wake” came to the rescue of 2018, otherwise known as a year pitifully desolate in terms of thrash metal output, but don’t be deceived! Voïvod still pack a punch well into the new millennium, with this release feeling particularly fresh.

This album is based on an established Voïvodian foundation of angular rhythms and dissonant soundscapes, executed masterfully. However, “The Wake”’s unique modus operandi consists of stitching various sections, ... read more

Any self-titled album must take into consideration the fact that, by mere virtue of existing, it takes upon itself representation of the artist’s wider opus. Should it come later in a discography, an ever-present pressure exists to live up to and exceed previous works - even more so than normally, as an uninformed new listener might chiefly give it a spin based on name alone.

There unfortunately exists no way to sugarcoat the fact that Voïvod’s self-titled release is not only ... read more

“Katorz” is one of Voïvod’s less noteworthy and less impactful works, sometimes shunned for its adoption of certain modern metal sensibilities. Despite it being released after Denis “Piggy” D’Amour’s tragic passing, Piggy had written and recorded every song’s guitar tracks, around which the drums and bass guitar were recorded. What a way to honour a tremendous legacy!

Unfortunately, the album’s content is mostly plain compared to most ... read more

Perpetually at odds with 1987’s “Killing Technology” for the title of Voïvod’s crowning achievement (in my eyes, at least), this progressive thrash metal masterpiece stands out as a perfect stylistic sweet spot between the aforementioned record’s savagery and roughness; and the more controlled, sophisticated progressive-rock-influenced sound to be ushered in already with next year’s “Nothingface”. Teetering between these two extremes, ... read more

It’s the early 1990’s and thrash metal is, at this point, pretty much dead and buried. So what becomes of the old guard? Simply put, they adapt or they perish. Voïvod chose to adapt, and the end result - "Jack Luminous".

A one-of-a-kind track, to be certain: it’s eclectic, daunting, and by far Voïvod’s longest. Throughout its runtime, it juggles soft, heartfelt sections and more heavy, distorted ones. The first half in particular is definitely ... read more