Chasing Hamburg
Bridge Nine Records/Stomp Distribution
A blog specialising in heavy metal album reviews and interviews.
Martin Popoff
Worlds Away: Voivod And The Art Of Michael Langevin
Spider Press
A must have for fans.
Even though genuine mainstream success has eluded them throughout most of their career, Québec (Canada) based progressive/thrash/avant-garde act Voivod have certainly had a huge influence on the metal scene throughout their lengthy twenty-five years together, which continues through to the present day. But while the impact of Voivod’s music on the metal movement is without question, it’s also drummer/song writer Michel ‘Away’ Langevin’s outlandish post-apocalyptic/sci-fi themed artwork that has adorned all of the band’s releases that have drawn as many people to the band as the music as the music itself.
Painstakingly put together over the course several years, Langevin and distinguished Canadian journalist Martin Popoff have finally completed work on the long awaited "Worlds Away: Voivod And The Art Of Michel Langevin".
With the book being released in a hard cover format (Which comes with a lavish glossy dust jacket), measuring nine inches by twelve inches and featuring one hundred and eighty-eight full colour pages, it’s clear that "Worlds Away: Voivod And The Art Of Michel Langevin" has been a true labour of love to ensure that Langevin’s artwork be given the respect that it truly deserves.
Written in the same narrative style that Popoff previously used on his Iron Maiden artwork release "Run For Cover - The Art of Derek Riggs" (2006), "Worlds Away: Voivod And The Art Of Michel Langevin" is part Voivod biography, and part exploration into Langevin vast body of work throughout the years. While the history surrounding Voivod has been well documented in recent times (Due to the passing away of guitarist Denis ‘Piggy’ D’Amour in 2005), Popoff’s correlation between the band’s various points in history in relation to Langevin creative output at the time does show the parallel progression of both Voivod themselves and Langevin’s art as time passed.
Langevin’s artistic influences (Which are evident with the inclusion of some of his earlier work from the late ‘70’s) are touched upon within the first part of the book. What follows is a series of individual chapters solely dedicated to each of the band’s studio releases, starting with 1984’s "War And Pain", including 1998’s compilation effort "Kronik" and 2000’s live effort "Voivod Lives", through to 2006’s "Katorz", where Langevin sheds light on the album’s various concepts and themes explored both in the artistic and musical sense.
Filled with full colour pieces of art, a wealth of previously unpublished smaller pieces (Both colour and black and white productions), with contributions from all members of Voivod (Both past and present), Human Furnace (Ringworm), Danko Jones, Dave Grohl (Foo Fighters/Probot) and Brian Slagel (Metal Blade Records) helping broaden Popoff’s take on Voivod’s long history within the music scene.
Langevin has long been regarded as a legend within the music scene for his drumming behind Voivod, with his artistic talents taking a backseat in terms of true recognition. "Worlds Away: Voivod And The Art Of Michel Langevin" rights that wrong, and finally allows Langevin’s art to speak for itself.
Regardless of whether you’ve admired Langevin’s work in the past or are a hardcore Viovodian, this book is an absolute must have for fans.
A great end to a great career.
Two years after the release of the well received "Katorz", long running Québec (Canada) based progressive/thrash/avant-garde act Voivod have returned with their twelfth full-length effort "Infini", which is reportedly the final album from the band after a lengthy twenty five years together.
Utilising the same method that brought "Katorz" to life, the band (who comprise of vocalist Denis ‘Snake’ Bélanger, ex-Metallica bassist Jason ‘Jasonic’ Newsted and drummer Michel ‘Away’ Langevin) once again wrote and recorded "Infini" around the material guitarist Denis ‘Piggy’ D’Amour recorded prior to succumbing to colon cancer in 2005.
Bringing D’Amour’s vision to life on "Katorz" certainly wasn’t an easy task the first time around for Voivod, and I had my concerns as to whether or not the material left over for "Infini" would be as equally as strong to reproduce a second posthumous effort of D’Amour. But apart from a couple of tracks that don’t quite hit the mark, it’s clear that Voivod have managed to do justice to D’Amour’s legacy on "Infini".
Voivod open up proceedings in a strong manner with the thrashy/rock "God Phones", which is given a particularly menacing edge with Bélanger opting for a slight punk snarl in his vocals, while the driving "From The Cave" boasts some great angular guitar work from D’Amour and fast paced drumming from Langevin.
Both "Destroy After Reading" and "Earthache" are just a couple of the album’s less stellar moments with their plodding pace (The repetitive chorus of "Blah Blah Blah is that all you say?" on the latter sounds a little uninspiring), but things do improve with the jarring full guitar throttle of "Global Warning" and the progressively tinged/semi-atmospheric "A Room With A V.U.".
Despite their less than serious lyrical content, both "Treasure Chase" and the retro sounding "Krap Radio" are punk-like rocking efforts that stand out with hugely infectious choruses and catchy riffs, while the slower paced and haunting "In Orbit" and the warped blues/psychedelic sounding "Pyramidome" brings to mind the direction the band took on their classic "Nothingface" album from 1989.
The up-tempo "Deathproof" injects a bit more of a rock vibe around the tail end of the album, while the creeping darker vibe within "Morpheus" and the complete thrash out of "Volcano" cap the album off perfectly.
Despite the fact that both "Katorz" and "Infini" were constructed in the same manner, there’s a real sense of strength heard within the material on the band’s latest effort that was missing in part on "Katorz".
If "Infini" is indeed the final release from Voivod (Langevin has suggested recently that he would like the band to create some new music with the remainder of the band), then the band have certainly finished their lengthy career with an impressive and fitting epitaph.
© Justin Donnelly.
Successfully building and expanding on a solid base of previous releases.
Keen to build upon the overwhelmingly positive response to their last couple of releases (Namely 2006’s “Eclipse” and 2007’s “Silent Waters”), long running Finnish (Helsinki based) metal act Amorphis are back with their ninth full-length release “Skyforger”.
Having retained a consistent and stable line-up comprising of vocalist Tomi Joutsen, rhythm guitarist Tomi Koivusaari, lead guitarist Esa Holopainen, bassist Niclas Etelävuori, keyboardist Santeri Kallio and drummer Jan Rechberger over the course of the last four years has definitely worked in Amorphis’ favour in every way. And as expected, the band’s third release with the same line-up maintains the level of musical perfection as laid down by its predecessors.
That’s not to say that “Skyforger” sounds exactly the same as “Eclipse” and “Silent Waters”, because there are some notable changes this time around. One of the more obvious shifts in the band’s sound is the greater progressive influence in the compositions, which really stands out on the opening track “Sampoo” and the very Opeth-like “Majestic Beast”. It’s on both these tracks where we hear the band stretching out and experimenting a little more than they have in the past, with the latter in particular standing out as one of the heaviest sounding tracks the band has recorded in many years.
The single “Silver Bride” is by far one of the album’s most melodic and accessible tracks, with Joutsen putting in a commendable performance both with his clean and growled efforts, while “From The Heaven Of My Heart” and “My Sun” follow a similar path in terms of direction.
The traditional folk element of Amorphis’ sounds is largely played down on “Skyforger”, with the album sounding more straightforward than previous releases, with the fast paced “Sky Is Mine” and “Course Of Fate” prime examples. But having said that, tracks such as “From Earth I Rose”, the downbeat “Highest Star” and the title track “Skyforger” do have moments of the band’s past intermingled with their current sound.
“Skyforger” may not be a huge departure from the band’s last couple of releases, but it does have a more immediate, memorable and consistent sound to it overall, proving that with each successive release, Amorphis really are mining a creative streak that doesn’t seem to be showing signs of being exhausted anytime soon.
For more information on Amorphis, check out - https://www.facebook.com/amorphis.
© Justin Donnelly.