Voivod Killing Technology - Jeff Kitts (Metal Mania )
The phrase "You've come a long way, baby" was
first made popular in the early Seventies, as it was the slogan for Virginia Slims brand
cigarettes. This particular euphemism can be used to describe an immense variety of
things, but when it comes to thrash metal, the finger behind those six words points to a
certain group of four young men who call themselves Voivod. It was back in 1984 when the
band released their first album, the now classic War and Pain (Metal Blade). Granted, it
was a brilliant album, but you'd have to be in a coma not to realize what a simple, basic
band Voivod was back then. A lengthy 18 months elapsed until the band once again unleashed
another album RRROOOAAARRR (Noise/Combat) upon the rapidly increasing number of Voivod
devotees. Unfortunately, that album didn't impress me as much as I had hoped, although it
was still a fine record. My faith in Snake, Piggy, Blacky, and Away declined a little back
then, but in April of this year it again skyrocketed, much like a hot stock on the
Exchange. For in April, Voivod's third vinyl offering, Killing Technology, was unbound
from the Combat Records Warehouse and shipped out to record stores across the country via
Important distributors. Killing Technology is undoubtedly Voivod's most impressive,
majestic, and awesome piece of plastic to date, and it ranks as one of the best albums of
this year. Voivod's songwriting has become increasingly more complex, sophisticated, and
involved, and the band's musical abilities have improved immensely. From the total
catchiness of "Ravenous Medicine" to the futuristic feeling of "Forgotten
in Space," you just can't go wrong with Killing Technology. If this album doesn't
propel Voivod to one of the top rungs of the underground metal ladder, then nothing will!
Voivod - Killing Technology- Dave Constable, Metal Forces No.22, 1987
Thanks to Sylvain Moisan
: The Metal Files
Rating: 93/100
An art form or an unholy racket? Well it's only recently that I've fully discovered the
aural delights of Canada's No. 1 French speaking thrashers.
I gave "War And Pain" 5 out of 10 all those eons ago but since then my brain has
been surgically removed and replaced with a plank of wood. It would definitely rate 95+ on
today's scale.
"Killing Technology" is a superb slab of vynil from the crisp production through
the excellent material and dare I say it more than adequate musicianship (sorry I can't
get too carried away by the playing).
Anyhow it's a departure for VOI VOD with less of a wall of noise approach and more of a
thrash come hardcore sound than its two predecessors. The incredible "This Is Not An
Exercise" is the standout - what an epic - so hard it's untrue. Hear and believe
"Forgotten In Space" and "Tornado". One weak song I believe is the
opener in the title track which is a bit too refined for my liking with silly sound
effects. (Maybe I'd appreciate it more if I knew what the hell they were singing about -
advance tapes don't come with lyric sheets unfortunately!) Anyway only 7 tracks - all are
at least good - one amazing, one brilliant and well... it's VOI VOD.
Did I say an art form - sort of a picture painted by someone in a mental hospital.
Look out-they've gotten even weirder! I'm not sure what it is about the wilds of Northern Quebec that makes this band so unique, but they've crossed the border into post-thrash (there's no other way to describe them) and put out an album that's as vicious as it is bizarre. This is the fourth segment of the Voivod character's odyssey, but the music is what makes this record truly groundbreaking: the guitars still screech, the rhythms are still thunderous, and there are still thrash parts, but these guys are clearly occupying their own dimension! Fuckin' brilliant. Picks: "Tribal Convictions," "Macrosolutions To Megaproblems," "Experiment," and-only on the CD-their deconstruction of the "Batman" theme.
In one way or another, virtually every great band coughed up in this dying decade had its roots in punk/hardcore. Voivod (the name comes from a particularly nasty bunch of medieval Yugoslavian barbarians) began as a quasi-conceptual thrash band in the far reaches of Northern Quebec in 1982, and ever since their first demo, they've just been, well, different. They fuse industrial noise with punk, thrash, psychedelia and progressive rock to create a screaming black hole of sound that used to fit the thrash-metal category-but now? Who knows! On last year's Dimension Hatross LP, melodic elements began to creep into their sound that have come fully to the fore here; while there's plenty of the spine-jarring tempos, vacuum-cleaner bass and sandstorm riffs that have become their trademark (Die Kreuzen fans will love this), there's an uplifting melodic skeleton that breaks through the brittle surface and makes it seem like there's two songs playing at once. Voivod just seems to approach songwriting from a different angle than anyone else: rather than the traditional verse/chorus/bridge, they write these different incongruous song-bites that don't seem to fit together, but after a few listens, it all makes sense. The most obvious track here is their pulsating cover of Syd Barrett's "Astronomy Domine"; take it from there into "Missing Sequences," "The Unknown Knows" and especially the (ulp!) ballad, "Into My Hypercube."
Voivod - The Outer Limits from The progressive website
"The progressive period of Voivod started at "Dimension Hartross" in 1988,
and each following album is softer and more melodious, with a more prominent role of
classic sympho-prog elements. "The Outer Limits" is their highest peak, but
unfortunately, their last prog-work to date. Later on,the band for some reasons returned
to their thrash roots, now with an unpleasant, unlike Belanger's, "deathish"
voice of the new bassist/vocalist Eric Forrest. All told, Voivod remains one of the most
original prog-metal bands (the members are big lovers of King Crimson and Pink Floyd) with
its easily recognizable originality, unlike, for example, Fates Warning, whose prog-sound
is based on the structures of Iron Maiden.
Well, the album. It's a conceptual work, based on "planetary mysticism" lyrics,
and the title of the last song "We are not Alone" (in the Universe) is just a
conclusion. Each of the band's progressive albums is different from the others, and very
similar Fix My Heart and Moonbeam Rider quickly show yet another new prog stylistic
direction of the band. Both are extremely heavy with various themes and arrangements.
The third one Le Pont Noir (lyrics, as always, in English) is a beautiful prog-ballad
sounding much more symphonic than heavy. The first song from Voivod, as it were, with the
addition of very original vocalization. The Nile Song is a nice cover version of a
completely weak song from early Pink Floyd. I like Voivod's arrangements much more than
the original version, and this another tribute-song is made in accordance with the album's
stylistic conception.
The Lost Machine and Time Warp, as well as the eighth Wrong-Way Street, have much in
common with the both openers. All of them combine true prog arrangements with the power of
metal. A good kind of prog-batteries... But the seventh 18-minute Jack Luminous is no less
than an outstanding progressive composition, and of course not only for this album! It's
one of the peaks shining bright in the whole prog-metal genre. The level of JL's
complexity can be justly related to the most intricate compositions of, for example, King
Crimson. With numerous mind-blowing themes and arrangements, changes of moods and tempos,
impeccable singing and virtuoso playing, this is one of the biggest pearls in the crown of
prog-metal!
The final song We are not Alone contains more varied moods than most short tracks, with
numbers 3 and 4 slow and the others basically heavy. Some nostalgic feelings (waiting for
the strangers) are reflected in the melancholy parts.
Summary. "The Outer Limits" is the one of the most important works for
development of progressive metal. At first sight the album might resemble a reference book
on astronomy with the interstellar chaos of planets, galaxies and other universes. Is it
not a trait of good prog? Unfortunately, I don't find anywhere such an established
prog-act as Voivod (and few others), though just Neo-prog-metal bands like Symphony X and
Eldritch, among the others, have been noted by many prog-reviewers. "The Outer
imits" was released by a division of "MCA" "Mechanic Records"
(also the first "home" of Dream Theater). "
Voivod :Phobos by Joe Dynamite! Metal News .
This album was my first real exposure to Voivod. I'd heard
the name several times before, but I'd never really listened to anything by them. I don't
know how useful this review will be to ardent fans of the band, but I'll try my best to
describe it for the other initiates. Voivod is a weird band. Combining elements of thrash,
death and industrial,and then wrapping the whole thing in an oddly progressive package,
Voivod really doesn't sound like anyone else I've ever heard. The overall experience is
pretty powerful, featuring heavy guitars and aggressive percussion, along with
semi-processed industrialish vocals. Voivod's solo purpose in life is to play music very
hard and very fast. It's not all breakneck pace (in fact much of Phobos is rather
melodic), but there's a definite sense of urgency to these tracks. Some of Phobos is
really quite strong. The title track is a seven-minute descent into madness, featuring
hypnotic, swirling guitars and a weird otherworldly vibe. Similarly, the almost
eight-minute "Neutrino" is oddly fascinating, featuring a slow synthesized build
into a slow guitar build into a cataclysm of metallic terror. "21st Century Schizoid
Man," is probably the closest thing to traditional rock that you'll hear from Voivod,
and it's a fun little ride.
While there is a lot of strong material on this disc, much of it is too abstract for me to
really get a handle on. As a result, some of Phobos is really lost on me. I have a feeling
that this is one of those discs that I'll grow to enjoy more and more over the years. As
it stands, Phobos is probably ahead of its time, and I'll end up coming back in two years
to rewrite this review, praising Voivod for their innovation and vision. Adventuresome
souls could do far worse, but you AOR folks will be confused and probably scared by the
entity known as Voivod.
Métal context of PHOBOS :
Issue of the "Official Live" from Pantera, "No Holds Barred" from Biohazard, "Somewhere out in space" from Gamma Ray, "Beyond Planet Earth" from Shelter, "Outcast" from Kreator.
Voivod :Kronik by Eric Massicotte RADICART ENTERTAINMENT
Well, first and foremost, we all want to take a few lines
to wish the best of luck and a fast recovery to all the members of Voivod who had a
terrible van accident while on tour in Germany. Words of support also goes on to all
famillies, friends and relatives.
Voivod were actually on tour to support both albums 'Phobos' and 'Kronik'. 'Phobos' got
released earlier this year and 'Kronik' just hit the racks recently (dates chages for
American and European readers - hehehe, lucky Canadians are we!!!). While 'Phobos' was
acclaimed as one of the best new (since the line-up change) Voivod albums by both the
critics and the fans (we are in both situations here at Radicart Entertainment), things
looked different for this 'remixes, unreleased tracks and live album'. The cover art as
well got me deceived as it is not as great as the usual standards drummer and illustrator
Away usually offer us. Actually it looks more like a dance-mix compilation than a metal
album. I must also admit that everytime I see a
good band getting into the remixes and/or live recordings stages, I await in fear the end
results. Things must be placed as they are: most metal remixes and most live recordings
SUCKS! Point. I expected the worst for Voivod and I WAS 
SURPRISINGLY
IMPRESSED. First thing on the offer is the three remixes: Forlorn (remix by Foetus)
Nanoman (remix by Haig Vartzbedian) Mercury (remix by Dj? Acucrack) All three remixes are
from songs previously available on the 'Negatron' and 'Phobos' albums, wich is a good
thing: The past is behind and the band now focuses on the future (as they always
did..hehe). I must admit that the remix of Foetus is more a new mix of the song instead of
a complete re-working of the song 'Forlorn', making it a bit noisier and giving it a
harsher yet stangely 'dancable' (end of the remix) edge. 'Nanoman' get a different treat
and dwell deeply into a trip-hop/jungle wave. The result is quite interesting, making the
band sound even more
twisted and dare I say it, more futuristic (yes...it is possible!). Mercury gets into a
faster techno territory where parts of the original song gets a cut/paste treatment. There
is a good effects work on the vocals wich are dominating the whole remix instead of the
music itself. I know some of you will hate this to death and will start to curse the
mighty Voivod. Still,remember that Voivod is probaly the only band deserving such re-works
on their material due to their constant and trademark fusion of different music styles and
to their open-mindness leading them forward instead of backward.
Anyway, if you are not openminded enough to enjoy the remixes, then you are surely not a
true Voivod freak and this album may not apply perfectly to you...Just wondering what one
would have done with a song like 'Tribal Convictions'... Things get even more interesting
when you discover the unreleased material.All 4 songs where taken from the recording
sessions of 'Phobos' and "Negatron': 'Erosion', 'Drift' and 'Vortex' from the
Negatron sessions and 'Ion' from the Phobos sessions. Surprisingly, these songs do not
sounds like left-overs but are truly great Voivod songs in their own respect. 'Vortex' is
quite great with trademark high notes riffing and weird time signatures. 'Drift is a weird
piece with clean guitars parts drowned in chorus and echo effects.The mix of the opening
section is quite obscur and almost sounds like a rehearsal take. Then the song take it to
the usual standards of Voivod and offers a good balance of rythm parts and 'ambient feel'
sections.Erosion is my favorite unreleased song with its great fast section in the middle
of the song. Also available is some precise staccato rythms and and mid-pace riffing.Ion
seems to buil itself on a drum machine instead of a standard quit wich, be it or not, is
still a mystery to me. Anyway, the song has really good and dynamic riffs and lead itself
into a faster territory.
I must admit that the live songs is maybe the less exciting part of this album. While the
recording is quite competent and also offers a new dimension to the last albums songs, it
is also a format Voivod is not used to work into. 'Project X' is quite effective and open
this live section with class. The playing is quite precise and the band is in good shape.
Mention should be done to Eric Forrest for its great performance on all the tracks. He is
an excellent replacement for Snake, and in most places, he sounds quite more arrogant and
aggressive than its predecessor. Piggy (Denis D'amour) is paying himself a reverb trip in
the beginning of 'Cosmic Conspiracy' before leading the band in the song. Again, the
performance is there and drummer Away shines with his precision, giving to the mid-paced
beggining song a lot of power. His double bass is also quite effective and just in the
middle section. Vocally, Eric also works with different effects wich add texture to the
live representation of the songs, something often missing on such recordings. 'Astronomy
Domine' is given an heavier approach here, thanks to Eric once again. With a dual vocal
effect on his voice, the song end up sounding more weird and more 'schizophrenic' than on
'Nothingface'. The band ends with a great and updated reprise of 'Nuclear War' from the
debut album. It is quite surprising to witness how Voivod, at the same time, evolved from
their roots but also stayed true to them. the songs is quite aggressive in live format.
Funny thing, Piggy miss the first notes of the songs, jumping in as if he was lost
somewhere in space 9well,
this case in Berlin).
All in all this will not please everyone but surely satisfy most Voivod fans worldwide.
The band is stronger than before and this album is a promising taste of things to come. I
only hope than the van accident will not cause too much troubles to the band and that they
will be back in business very soon. As Voivod already got out alive (and most of the time
stronger!) of many problems and troubles, I know they will resurface sooner than we can
imagine.
Métal context of KRONIK :
Issue of "The Elephants Riders" from Clutch, "The sound of Perseverance" from Death, de "Mechanical Animal" from Marylin Manson, "Jubileum III" from Bathory.
