- Jan 25, 2006
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I was talking to Dave and said he had never really heard to much from Voivod. Were going to have to change that bro! 
Heres an interesting little news blurb on the new Voivod album.
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http://www.bravewords.com/news/39641
VOIVOD Exclusive - BW&BK Gets A First Glimpse At Bands New Album
2006-02-07 15:59:39
This past weekend, BW&BK scribe Chris Bruni had an opportunity to preview the new, as-yet-untitled VOIVOD album, and here were some of his observations upon first listen...
Going into this album with the deck stacked against them, Voivod seemed to be pushed against a wall, face-to-face with the many impending obstacles laid down before them. But after hearing a full-on pre-mix version of the entire, as-yet-untitled album (at time of this review), it becomes so clear that one of Voivod's greatest strengths is excelling when the odds are candidly against them, defying them with integrity, class, and courage.
To hear the new Voivod album, and to hear how such an album was put together, it seems like a miracle that it even manifested. But of course Voivod rose up to the challenge and triumphed.
Nevertheless, the first impression after the final moments of the closing track, 'The Getaway', were heard, it was easy to come to the conclusion that this will undoubtedly be one of the most important metal albums of 2006
The overall vibe and aura of the new Voivod is simply overwhelming, and to hear the late Piggy's ethereal and unearthly guitar vibes was a chilling experience indeed (especially in the environment in which the new album was presented to yours truly, in the company of drummer Michel "Away" Langevin and singer Denis "Snake" Belanger at Multisons Studios).
Overall, the album is heavy. Damn heavy with a dark undercurrent running its course throughout the massive and unforgiving wall-of-sound. Almost like a more aggressive Dimension Hatröss, while still maintaining that experimental edge with the cool luminous dark-rock-groove of Angel Rat and The Outer Limits, all while continuing in the character of their self-titled comeback album from 2003 and taking said character that much further...
Just a simple first impression of course (although my hair stands on end just thinking about it), but according to Away, at the time of this session, there is still a bit more work to be done, like bringing up the guitars a bit more in the mix (which by the way do not sound like clean
home-recorded "demos" whatsoever, Piggy's guitar manifestations upholding the true unique power they have always been known for doing) and adding some acoustic interludes, segments in which Piggy recorded at his girlfriend's place on a "primitive" digital four-track, these specific
segments being some of the very final moments Piggy would commit to tape before his death.
Comprised of ten tracks that will grace the new opus, here is a quick track-by-track description of what we can expect:
'Dognation' - The opening track pretty much sets the stage in traditional Voivod-ian fashion with its massive hypnotic tones searing forth through a powerful groove, Jason Newsted's powerful bass tone, elegantly crafted pounding drums, and Snake's traditional distinct savvy metallic vocals, all coming at you in full-force. And this is only the beginning...
'X-Tremetal' - I kinda like to call this one the "driving song", with its upbeat and catchy tone pretty much being the dominating force with powerful guitar breakdowns which have that trademark Piggy surgical resonance. It appears almost as if Snake is singing about driving a cool car, and driving it fast, with his "Let's roll..." line bringing an infectious tone to it all.
'Polaroids' - The rock vibe continues to follow-through, but this time, subtly juxtaposed with more of Piggy's dissonant riff structures, which almost sound strangulating in nature, but then let up for the flow, while ominously returning for the kill.
'After All' - Piggy's guitar histrionics continue to morph, grind, and twist, once again creating good dialogue with Jason Newsted's bass pulsations on those monstrous breakdowns (that make metalcore breakdowns look like something The Backstreet Boys would write) and groove parts. Snake's vocals continue to infectuate as the song's climax has the singer vocally swaying, "Been there, done that..."
'No Angel' - Definitely one of the standout tracks on the album. Beginning with a very dark and spacey segment with Piggy's layered guitar ambience, said weird guitar ambience remains a dominating factor in this song. The groove laid down on this song is incredibly powerful, as Piggy's dark buzzsaw guitar solo makes its appearance in its machine-like coldness. Incredible!
'Mr. Clean' - If there were to be a first-single from the album, 'Mr. Clean' would probably be it. An infectious and an unforgivingly catchy vibe pretty much dominates this song, giving this track such an amicable character that you cannot help but simply smile in joy.
'Red My Mind' - Begins with a consistent build-up crescendo tone that lasts until the 2:20 mark and then breaks into that unforgiving wall-of-sound effect until it breaks back into those traditional, and dominating, dissonant grooves.
'Silly Clones' - Beginning with a pulsating bass, this is one of the shortest songs on the album with its wickedly playful tones being juxtaposed with heaving riff strums that almost have this call-and-response effect with each other. On top of that, prose-wise, Snake once again proves that he is one of the most unique poets in metal.
'Odds And Frauds' - The permeating recurring line that Snake huffs out, "The politicians always want more", is a characteristic of such a track that heavily builds up on guitar resonance with darker guitar ambience that permeates over the mid-paced groove until the climax builds itself up amongst a unsettling noise breakdown.
'The Getaway' - The album ends on a solid rocking note, but the one thing that stood out on this track is this dark guitar undercurrent that subtly sneaks in within the background of the sound-picture, distinguishing itself in its chameleon-like manner, almost gazing amongst the dominating pummeling rock. As the song climaxes, its pace slows down, and then abruptly stops.
Further to Chris Brunis report, as previously reported, Nuclear Blast recently announced that Voivod have signed with the label for Europe. The bands new album will be released this spring in North America via The End Records
Heres an interesting little news blurb on the new Voivod album. -----------------------------------------------
http://www.bravewords.com/news/39641
VOIVOD Exclusive - BW&BK Gets A First Glimpse At Bands New Album
2006-02-07 15:59:39
This past weekend, BW&BK scribe Chris Bruni had an opportunity to preview the new, as-yet-untitled VOIVOD album, and here were some of his observations upon first listen...
Going into this album with the deck stacked against them, Voivod seemed to be pushed against a wall, face-to-face with the many impending obstacles laid down before them. But after hearing a full-on pre-mix version of the entire, as-yet-untitled album (at time of this review), it becomes so clear that one of Voivod's greatest strengths is excelling when the odds are candidly against them, defying them with integrity, class, and courage.
To hear the new Voivod album, and to hear how such an album was put together, it seems like a miracle that it even manifested. But of course Voivod rose up to the challenge and triumphed.
Nevertheless, the first impression after the final moments of the closing track, 'The Getaway', were heard, it was easy to come to the conclusion that this will undoubtedly be one of the most important metal albums of 2006
The overall vibe and aura of the new Voivod is simply overwhelming, and to hear the late Piggy's ethereal and unearthly guitar vibes was a chilling experience indeed (especially in the environment in which the new album was presented to yours truly, in the company of drummer Michel "Away" Langevin and singer Denis "Snake" Belanger at Multisons Studios).
Overall, the album is heavy. Damn heavy with a dark undercurrent running its course throughout the massive and unforgiving wall-of-sound. Almost like a more aggressive Dimension Hatröss, while still maintaining that experimental edge with the cool luminous dark-rock-groove of Angel Rat and The Outer Limits, all while continuing in the character of their self-titled comeback album from 2003 and taking said character that much further...
Just a simple first impression of course (although my hair stands on end just thinking about it), but according to Away, at the time of this session, there is still a bit more work to be done, like bringing up the guitars a bit more in the mix (which by the way do not sound like clean
home-recorded "demos" whatsoever, Piggy's guitar manifestations upholding the true unique power they have always been known for doing) and adding some acoustic interludes, segments in which Piggy recorded at his girlfriend's place on a "primitive" digital four-track, these specific
segments being some of the very final moments Piggy would commit to tape before his death.
Comprised of ten tracks that will grace the new opus, here is a quick track-by-track description of what we can expect:
'Dognation' - The opening track pretty much sets the stage in traditional Voivod-ian fashion with its massive hypnotic tones searing forth through a powerful groove, Jason Newsted's powerful bass tone, elegantly crafted pounding drums, and Snake's traditional distinct savvy metallic vocals, all coming at you in full-force. And this is only the beginning...
'X-Tremetal' - I kinda like to call this one the "driving song", with its upbeat and catchy tone pretty much being the dominating force with powerful guitar breakdowns which have that trademark Piggy surgical resonance. It appears almost as if Snake is singing about driving a cool car, and driving it fast, with his "Let's roll..." line bringing an infectious tone to it all.
'Polaroids' - The rock vibe continues to follow-through, but this time, subtly juxtaposed with more of Piggy's dissonant riff structures, which almost sound strangulating in nature, but then let up for the flow, while ominously returning for the kill.
'After All' - Piggy's guitar histrionics continue to morph, grind, and twist, once again creating good dialogue with Jason Newsted's bass pulsations on those monstrous breakdowns (that make metalcore breakdowns look like something The Backstreet Boys would write) and groove parts. Snake's vocals continue to infectuate as the song's climax has the singer vocally swaying, "Been there, done that..."
'No Angel' - Definitely one of the standout tracks on the album. Beginning with a very dark and spacey segment with Piggy's layered guitar ambience, said weird guitar ambience remains a dominating factor in this song. The groove laid down on this song is incredibly powerful, as Piggy's dark buzzsaw guitar solo makes its appearance in its machine-like coldness. Incredible!
'Mr. Clean' - If there were to be a first-single from the album, 'Mr. Clean' would probably be it. An infectious and an unforgivingly catchy vibe pretty much dominates this song, giving this track such an amicable character that you cannot help but simply smile in joy.
'Red My Mind' - Begins with a consistent build-up crescendo tone that lasts until the 2:20 mark and then breaks into that unforgiving wall-of-sound effect until it breaks back into those traditional, and dominating, dissonant grooves.
'Silly Clones' - Beginning with a pulsating bass, this is one of the shortest songs on the album with its wickedly playful tones being juxtaposed with heaving riff strums that almost have this call-and-response effect with each other. On top of that, prose-wise, Snake once again proves that he is one of the most unique poets in metal.
'Odds And Frauds' - The permeating recurring line that Snake huffs out, "The politicians always want more", is a characteristic of such a track that heavily builds up on guitar resonance with darker guitar ambience that permeates over the mid-paced groove until the climax builds itself up amongst a unsettling noise breakdown.
'The Getaway' - The album ends on a solid rocking note, but the one thing that stood out on this track is this dark guitar undercurrent that subtly sneaks in within the background of the sound-picture, distinguishing itself in its chameleon-like manner, almost gazing amongst the dominating pummeling rock. As the song climaxes, its pace slows down, and then abruptly stops.
Further to Chris Brunis report, as previously reported, Nuclear Blast recently announced that Voivod have signed with the label for Europe. The bands new album will be released this spring in North America via The End Records
