01. Target Earth
02. Kluskap O’Kom
03. Empathy For The Enemy
04. Mechanical Mind
08. Corps Étranger
[Century Media Records]
For a long time fans of Voivod have been weary of what would happen when the band inevitably ran out of material left over from former guitarist, Dennis D’Amour (Piggy). Which is completely understandable, as Piggy was seemingly the key writing component of the band for the the first two decades of their formation. So, when it was made known that the band’s latest record, Target Earth, would be the first album to feature contributions from Daniel Mongrain (Chewy), the man who took over lead guitar duties for the band’s tours once Piggy passed away, weariness turned into apprehension. It’s been made abundantly clear that when a pivotal member of a band is replaced, well the results can be less than desirable.
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Oh boy, here we go again. Voivod‘s thirteenth studio release, Target Earth, isn’t due out for release until next Tuesday (January 22), but luckily for fans of the band you can now stream the album in its entirety at Loudwire. I’ve only been able to get in two listens so far, but I’m really liking what I’m hearing. If my schedule clears up I hope to be able to review it within the next week or so. It’s a mixture of old school thrash metal, with a nice dose of progressive weirdness that perfectly accentuates the band’s style and sound. If you’ve heard Voivod in the past, you know what to expect, to a certain extent. It’s a really high quality release. Go listen. Now.
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I don’t always partake in black metal, but when I do, I listen to something progressive like Enslaved, who have incorporated more experimental and melodic aspects to their sound with every passing record. That wasn’t really a Dos Equis parody; I’m not nearly interesting enough. At any rate, these legends have been hard at work on their new record this year, recently wrapping up the recording process. Norway’s NRK caught up with the prog metal vikings and got some details on the new Enslaved record, including a 66-second sample of new music!
Here’s how the record is expected to sound:
We’ve given more space to it all this time around. More space to the melodic stuff, more space to the prog flavor and ’70s-inspiration, there are glimpses of some doom, some good Voivod-style thrash, some cool guitar solos. All the little things that we like we have provided even more room for. It’s the “more is more”-philosophy. We’ve given up on the structural stuff once and for all. It’s not for us. So there’s not much verse-chorus-verse on the new record. We have tried a few places, but no one even hears that it is an attempt at a chorus.
So a logical progression from their previous record Axioma Ethica Odini and their two recent EPs into more proggy territory. Not shocking, but totally excellent news. Read up on the new album’s creation over at NRK (and hear some new music!) and get excited for their new album, due out later this year on Nuclear Blast.
[via No Clean Singing]
01. Earth Ripper
02. Circles Of The Oath
03. Abraxus Connexus
04. Skrying In The Spirit Vision
05. Ontologically, It Became Time And Space
06. A Song For Ea
Slayer‘s Reign In Blood can be basically defined by two main features:
- The huge impact it had on the thrash scene at the time. It became a classic simply by outdoing everyone in terms of speed and extremity and, by extension, led us deeper into the dank and inhuman world of extreme metal that we live in today.
- THAT scream at the beginning of “Angel Of Death” — A sound so widely recognized that it can turn mass groups of metalheads into ‘SLAYYYYARGH’-shouting howler monkeys at even a mere mention; a sound so distinct that it has graced parody videos ranging from a father’s lament to a deranged rooster and a sound that ushers in half an hour of punk-infused thrash metal.
Strangely enough, Abzu starts much the same way with “Earth Ripper” – a soaring King Diamond-esque scream set against racing breakneck thrash.
However, Absu‘s sound isn’t as ‘old school’ as that comparison would have you believe, with a career spanning nearly twenty years and a fairly lax attitude to releasing new material, it seems they’ve seen it all and rather than simply resting on their laurels they make the effort to incorporate ideas that would be as at home in 1986 as they would be 2011. Their particular brand of blackened thrash is nothing short of all-encompassing, mixing the relentless assault of bands like Slayer and Bathory with a nod towards the more tech leanings of Coroner and Voivod whilst still maintaining a sleek and sharp modern veneer.
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