[Column] Voivod: SF, nuclear war, and the extreme north of progressive thrash metal
Column en Canadian Metal Progressive Metal Thrash Metal![[Column] Voivod: SF, nuclear war, and the extreme north of progressive thrash metal](/../assets/images/column-voivod.webp)
What was Voivod?
| Text: mmr | Theme: Canadian band Voivod has rebuilt thrash metal with science fiction and an experimental spirit, paving the way for the future of progressive metal. |
Looking back at the history of heavy metal in the 1980s, many bands competed in terms of speed and weight. However, there was a clearly different presence among them. Voivod is from Jonquières, Quebec, Canada.
They weren’t just thrash metal.
They created a unique musical universe by fusing the roughness of punk, the construction of progressive rock, the mechanical sensibilities of industrial, and the worldview of science fiction.
When many listeners hear Voivod’s music for the first time, they feel strangely out of place.
- The riff is distorted.
- Tempo changes suddenly.
- The chord progression is unstable and has a floating feel.
- The vocals are like a roar, but also somehow cold.
However, deep within the chaos there is a strong sense of unity.
Voivod was a band that was trying to create an “alternative future” rather than “destruction.”
In the 1980s, when thrash metal was all about violence and anti-establishment themes, Voivod brought to the fore themes of space, technology, nuclear war, cyborgization, and the collapse of human civilization.
And it’s not just a lyrical production. The sound itself echoes like a collapsed futuristic city.
This feeling was the biggest thing that made Voivod unique.
Origin of name and initial concept
The name “Voivod” is derived from an Eastern European military title, meaning ruler or warrior.
The band was formed around 1982.
The initial members were the following four people.
- Denis “Snake” Bélanger (vocals)
- Denis “Piggy” D’Amour (guitar)
- Jean-Yves “Blacky” Thériault (bass)
- Michel “Away” Langevin (drums)
Away, in particular, was an important figure in shaping Voivod’s visual world.
He was not only the drummer, but also the jacket designer and artwork.
Voivod”s decadent, mechanical worldview is reinforced by Away”s visual sensibilities.
They were influenced by music as diverse as Motörhead, Venom, Discharge, Pink Floyd, and King Crimson.
In other words, Voivod was not a pure metal band from the beginning.
An unusual band born from a local city
Jonquières is not a huge city like Montreal or Toronto.
Rather, it was a regional city with an industrial atmosphere.
It is often said that this sense of confinement had a strong influence on Voivod’s unique worldview.
factory.
smoke.
Cold region.
machine.
Isolated.
This feeling is directly reflected in their sound.
While the American West Coast thrash of the same period was urban and street-like, Voivod’s music has an “industrialized cold region” feel.
This was a fairly rare trait in metal history.
Early demo era
Their 1984 demo, To The Death!, already had hints of what would become Voivod.
A rough performance.
Punk impulse.
Noisy guitar.
However, at that point there was already a feeling that it was ““not your average thrash’’.
Piggy’s guitar playing was unique.
At a time when traditional thrash metal was focused on fast, chromatic riffs, he used a lot of dissonance and strange chords.
This guitar style would later influence many musicians.
Voivod was an “otherworldly band” that emerged from within thrash metal.
“War and Pain” and the era of nuclear war
In 1984, Voivod released their debut album, War and Pain.
At that time, the world was shrouded in Cold War tension.
- Fear of nuclear war.
- Arms race.
- Dystopian future view.
This atmosphere permeated throughout 1980s culture, but Voivod musicalized it in their own way.
Ruined future world
Although ““War and Pain”’ is a rough-hewn thrash metal work, Voivod”s worldview has already been clearly formed.
What is particularly important is that they did not simply depict Satanism or violence, but rather a ““SF-like world of war.’’
The title track develops a war machine-like rhythm.
The guitar sounds like a mass of noise, not just a riff.
This was quite unique among thrash metal at the time.
Crossover feeling
Voivod’s early works also had a strong hardcore punk influence.
There are elements of Discharge and GBH in the tempo and aggression.
However, they mixed in a strange sense of odd time signatures.
At this point, the seeds of what would later become progressive were present.
Away artwork
Away”s jacket collection is extremely important to understanding Voivod”s music.
His illustrations blended comic book, science fiction, metal art, and underground comics sensibilities.
Voivod’s worldview was a comprehensive work that included not only sound but also visuals.
Stranger than extreme
In the 1980s, there was a trend in thrash music to be faster and more violent.
But Voivod is different.
They pursued “unusualness.”
This directly led to later progressive metal and avant-garde metal.
"”War and Pain’’ was the moment when the strange universe called Voivod first appeared.
“Rrröööaaarrr” and a slash that makes noise
1986”s Rrröööaaarrr was Voivod”s next move in a more dangerous direction.
This album deliberately subverts the hedonism of typical thrash metal.
The sound became muddy, the riffs twisted, the structure destabilized.
Piggy’s Unusual Guitar
Piggy’s guitar style completely entered its own realm during this period.
Unlike the power chord-based thrash music, he often used muddy chords and strange tensions.
This always creates a “spatial distortion” in Voivod’s sound.
The sound had a feel that could be connected to later noise rock and math rock.
Drum and bass changes
The drumming on Away was also unique.
Instead of a simple high-speed beat, create gaps and gaps in the rhythm.
Blacky”s bass was also important, and his unique distorted bass became the core of Voivod”s sound.
He is especially famous for his unique sound called “blower bass.”
Outside of thrash metal
"”Rrröööaaarrr’’ was considered quite heretical even in the contemporary metal scene.
However, in later years, this album was reevaluated.
The reason is clear.
Voivod was already creating “alternative metal” at this point.
In the mid-1980s, they were ahead of the curve in the experimental metal sensibilities that would spread from the 1990s onwards.
Canada’s position
It was also important that Voivod was from Canada.
They were free because they were not at the center of the huge American market.
Independent evolution was possible outside the mold of commercial success.
"”Rrröööaaarrr’’ was an important work that transformed thrash metal into noise and avant-garde.
The future begins with “Killing Technology”
1987’s Killing Technology was a turning point not just in Voivod history, but in metal history as a whole.
From this work, Voivod began to become progressive in earnest.
A look at technological civilization
As the title suggests, technology is a major theme in this work.
However, Voivod does not paint a optimistic picture of future technology.
The future they envision is an unstable, mechanized dystopia.
The late 1980s was also a time when computer technology began to rapidly penetrate general society.
Voivod was a musical expression of this change.
Progressive structure
In “Killing Technology”, the song structure changes significantly.
It’s not a simple sprint, but the development becomes more complex.
- Odd time signature.
- Strange break.
- Spatial riff.
These had a great influence on later technical metal.
Fusion of SF and metal
There were bands that focused on science fiction before Voivod.
However, there have been few bands that have futuristicized the musical structure itself to this extent.
They were trying to create science fiction not only with the lyrics but also with the “sound itself.”
Huge impact on what follows
This album was later cited by many bands as an influence.
In particular, the impact on the following trends will be significant.
- Technical death metal *Mathrock
- Avan Metal
- Post metal
- Progressive slash
Voivod instantly expanded the vision of the future of metal.
Evolution as a live band
During this period, they also gained recognition for their live performances.
Although the song is complex, it was extremely energetic on stage.
Snake”s insane performance was also an important part of Voivod”s appeal.
"”Killing Technology’’ was a historic work that connected thrash metal to the future.
Completion of “Dimension Hatröss” and concept album
Dimension Hatröss, released in 1988, marked Voivod’s arrival into a completely unique world.
This album has also been highly praised as a concept work.
Voivodian universe
Voivod developed a worldview centered around its own character “Korgull”.
In Dimension Hatröss, that worldview deepens even further.
Science fiction, spirituality, mechanical civilization, and cosmic horror mix here.
Abnormality of acoustic space
The biggest feature of this album is its sense of spatial processing.
The guitar doesn’t sound like a wall, it just floats.
The rhythm moves forward but floats.
As a result, Voivod has acquired an “outer space sound.”
Influence from progressive rock
The influence of King Crimson is particularly strong.
- Dissonance.
- Irregular rhythm.
- Spatial construction.
However, Voivod is not just a throwback to progressive rock.
They maintained their punk-like violence while becoming more complex.
This is extremely important.
Intellectualization of metal
In the late 1980s, metal music was becoming more sophisticated.
However, the special feature of Voivod was not its ““theoretical complexity,” but its ““different world construction.”
They treated music as a giant science fiction device.
Cult popularity
At this point, Voivod was far from a commercial success.
However, it has gained an enthusiastic following.
It received particularly high praise from musicians.
In later years, many experimental metal bands cited Voivod as an important source.
"”Dimension Hatröss” was a masterpiece that transformed metal into ““space architecture.”
“Nothingface” and its destination
1989”s Nothingface is often talked about as the signature work of Voivod”s career.
This work combines their experimental nature and ease of listening with a miraculous balance.
“Astronomy Domine” cover
A cover of Pink Floyd”s song “Astronomy Domine” symbolizes Voivod”s musical roots.
They weren’t just a thrash band, they were deeply psychedelic and cosmic.
Major distribution and reputation expansion
“Nothingface” received relatively wide acclaim among Voivod’s works.
Even in the metal market of the MTV era, they stood out.
But at the same time, they never fully adapted to the mainstream market.
Complexity and Groove
This work has a stronger sense of groove than before.
Although complex, the music progresses fluidly.
This feeling also connected to later alternative metal.
Piggy’s Guitar Revolution
Piggy’s codework was completely unique at this point.
It deviates greatly from the idea of a general metal guitar.
Establishing beauty while using dissonance.
This ability was Voivod’s greatest feature.
The Eve of the End of the Cold War
1989 was also the year of the fall of the Berlin Wall.
As the Cold War structure began to change, Voivod’s nuclear war worldview began to take on new meaning.
They were not just a band of the times, but an expression of civilizational anxiety itself.
"”Nothingface”’ was the crystallization of Voivod”s experimentalism and musicality at the highest level.
Changes and struggles in the 1990s
In the 1990s, the metal scene changed drastically.
- Grunge.
- Alternative.
- Industrial.
The market for traditional thrash metal was shrinking.
Voivod will also explore new directions amidst these changes.
Melody version of “Angel Rat”
1991’s Angel Rat took Voivod in a more melodic direction.
The psychedelic colors and rock feel are stronger here.
Although some fans were confused, this work was reevaluated in later years.
“The Outer Limits”
1993’s ““The Outer Limits’’ again strengthens the sci-fi tone.
The long song “Jack Luminous” became an important song symbolizing Voivod’s progressive nature.
Blacky leaves
Bassist Blacky left the band around 1991.
This brought about a huge change in Voivod’s sound.
His distorted bass sound was an important element supporting Voivod’s mechanical sense.
Market and Experimentality
In the 1990s, the metal market was undergoing major restructuring.
Among them, Voivod remained more experimental than commercial.
Although this was difficult, it also increased their value in the long term.
Connection with the alternative era
What”s interesting is that Voivod”s sound had a surprising affinity with 1990s alternative sensibilities.
noise.
instability.
sense of space.
These naturally connect to later post-metal and alternative metal.
Voivod in the 1990s continued to mutate itself rather than adapting to the times.
An innovator named Piggy
Piggy’s presence is absolutely essential when talking about Voivod.
He occupies a very special place in metal guitar history.
The man who changed the concept of riffing
Normal thrash guitar emphasizes aggression and speed.
However, Piggy created an ““unstable space.’’
His code is muddy.
However, that turbidity was what made the Voivod sound.
Distance from jazz and progressive rock
Piggy was not a virtuosic guitarist.
There was also distance from the fast-shooting competition.
Rather, he was a space designer.
In that sense, he is often compared to Robert Fripp.
Impact on subsequent
Piggy’s influence is far-reaching.
- Gojira
- Mastodon *Opeth
- Around Meshuggah
- Technical metal group after Voivod
Many bands have been influenced by his “dissonant aesthetic”.
Feelings rather than music theory
Importantly, Piggy’s music was not theory-driven.
He was building guitars with a unique feel.
As a result, Voivod has a unique floating feeling that is difficult to explain.
Piggy’s death
In 2005, Piggy died of colon cancer.
This was a devastating blow to Voivod.
However, the recordings and ideas he left behind would be utilized in his later works.
Piggy was an innovator who brought the metal guitar to space.
Away’s visual universe
Voivod is not just a sound band.
Away’s artwork was a huge part of shaping the Voivod world.
DIY spirit
From the beginning, Away was in charge of jackets and logos.
This is similar to the punk DIY spirit.
The Voivod were building their own world.
SF comic world view
The world Away depicts is a mixture of Mobius, underground comics, and science fiction animation.
As a result, Voivod became “readable metal.”
Music and visual integration
With Voivod, artwork and sound are perfectly connected.
This is very important.
They weren’t just creating album jackets, they were creating world settings.
Expanding Metal Aesthetics
Much of 1980s metal featured muscular, exaggerated visuals.
But Voivod is different.
They depicted an unstable and distorted future city.
This sense could be connected to later cyberpunk culture.
Consistency of worldview
Voivod changes with each work.
However, at its core, the sense of an ““unstable future world’’ remains consistent.
This has pushed them beyond just a genre band to a ““general artistic band.’’
The artwork for Away was a huge device called Voivod that visualizes the universe.
Relaunch and Voivod in the 21st century
Since the 2000s, Voivod has continued its activities despite facing difficulties.
Joined by Jason Newsted
There was also a time when Jason Newsted, formerly of Metallica, joined the group.
He was known as an avid fan of Voivod.
The addition of Newsted has also led to renewed attention to Voivod.
Continuation after Piggy’s death
After Piggy’s death, it seemed difficult for the band to continue.
But Voivod didn’t stop working.
This was not just an act of maintaining nostalgia, but an act of continuing the very concept of Voivod.
Connecting with the new generation
In the 21st century, Voivod is being reevaluated by the younger generation.
The reason is clear.
This is because modern metal contains a lot of Voivod elements.
Dissonance.
Odd time signature.
SF worldview.
Acoustic spatiality.
What was once heresy later became standard.
After “Target Earth”
Since 2013’s Target Earth, Voivod has once again approached its creative peak.
They weren’t just a comeback band.
It is still evolving.
Spirit of not becoming a veteran
Many long-running metal bands end up being replays of their past.
But Voivod was relatively spared.
They still maintain their experimental spirit.
In the 21st century, Voivod continues to be an ongoing experiment rather than a “legend from the past.”
What Voivod leaves behind
Voivod wasn’t a huge commercial band.
However, in terms of influence, he was extremely important.
Influence on progressive metal
Voivod’s sensibilities are deeply pervasive in current progressive metal.
Metal is not just a technical competition, but a spatial design.
This was an important area that Voivod pioneered.
Metal becoming avant-garde
Before Voivod, metal was a relatively stylized music.
But they introduced the avant-garde from within.
As a result, the path of avant metal and experimental metal expanded.
Authentic fusion of SF and metal
Metal that dealt with science fiction images existed.
But Voivod has reduced this down to its sonic structure.
This was a very important innovation.
The value of “being different”
This is perhaps Voivod’s greatest achievement.
They weren’t afraid to be “weird.”
Moreover, he maintained this uniqueness to the very end.
As a result, they went down in history apart from fashion.
The future of metal
Voivod’s music sounds futuristic even today.
This is extremely rare.
While much 1980s metal still retains a strong sense of the times, Voivod still resonates as the “sound of the future.”
That”s because they weren”t just a trend, they were turning ““anxiety about the future’’ into music.
Voivod transformed metal from a style of the past to a device for imagining the future.
Chronology
| Year | Events |
|---|---|
| 1982 | Formed in Quebec, Canada |
| 1984 | “War and Pain” announced |
| 1986 | “Rrröööaaarrr” announced |
| 1987 | “Killing Technology” announced |
| 1988 | “Dimension Hatröss” announced |
| 1989 | “Nothingface” announced |
| 1991 | “Angel Rat” announced |
| 1993 | “The Outer Limits” announced |
| 2005 | Piggy passes away |
| 2013 | “Target Earth” announced |
| 2022 | Celebrating 40th anniversary |
Major albums
| Works | Publication year | Features |
|---|---|---|
| War and Pain | 1984 | Wild science fiction slash |
| Rrröööaaarrr | 1986 | Noisy experimental thrash |
| Killing Technology | 1987 | Technicalization and sense of the future |
| Dimension Hatröss | 1988 | Completed as a concept work |
| Nothingface | 1989 | Fusion of experimentation and perfection |
| Angel Rat | 1991 | Change to emphasis on melody |
| The Outer Limits | 1993 | Long progressive version |
| Target Earth | 2013 | Re-evaluation of modern Voivod |
At the end
Voivod was a mutation of thrash metal.
However, they did not stop at mere mutations.
This abnormality was inherited in later generations and permeated many areas such as progressive metal, avant metal, post metal, and technical metal.
They didn’t create “futuristic metal.”
He was translating the anxiety, mechanization, isolation, informationization, and collapse of civilization of future society into sound itself.
That’s why Voivod never gets old even when you listen to it now.
In fact, modern society is closer to the world they envisioned.
Information that becomes noise.
Divide.
Fusion with machines.
An unstable civilization.
Voivod has been making them sound since the 1980s.
And the sound still resonates as if it is coming from the future.
Voivod were one of the first innovative bands to translate “anxiety about the future” into metal.
