voivod free download Voivod Logo Vector. Download The Voivod Logo Vector File In Eps Format (Encapsulated PostScript) . The Total Size Of The Downloadable Vector File Is 0.16 MB And It Contains The Voivod Logo In .eps Format Along With The .jpg Image. Download voivod logo only if you agree: The above logo image and vector of voivod logo you are about to download is the intellectual property of the copyright and/or trademark holder and is offered to you as a convenience for lawful use with proper permission only from the copyright and/or trademark holder. You hereby agree that you agree to the Terms of Use in compliance with the DMCA act of 1998. VOIVOD. "The Wake" is Voivod's 14th studio album (damn!), and it's a direct continuation to the concept album that comes right before it, "Target Earth" which explains why both album covers got a similar art style. I will be honest when I tell you that I was incredibly hyped for this album the moment I realized there was a +10 minute song in it. I'm used to long songs, but Voivod rarely makes them! And by rarely I mean they have only made two in their entire discography, the first one being their best song "Jack Luminous". Of course, this album is classic Voivod. Fast paced prog-thrash songs with Sci-fi lyrical themes and a good balance of ambience and heaviness. It only has eight tracks but each of them have enough substance to stand by themselves or when doing full listens. I'm happy and proud to give this record a five star rating. So happy to see this band still has a spark of creativity. After the raw thrash masterpiece that was its predecessor "", "Dimension Hatr�ss" has Voivod stepping into more progressive areas. This album is pretty heavy and I also felt it was a little more experimental, featuring many sections with Sci-Fi-sounding effects spread all around the album (for those who don't know, Voivod's favorite lyric material has almost always been Sci-Fi). The album begins with "Experiment": A 6-Minute track that begins with a slow fade in, only to start with a funky and heavy riff. Just like Nothingface's "The Unknown Knows", this track defines the sound for the rest of the album. This album is Voivod's first greatest breakthrough (Killing Technology was a masterpiece as well but it wasn't as unique as this album), and I truly believe it is essential to any tech/extreme metal album collection. Oh and in case you're wondering: It has no growls. So if you're a 70s prog and and enjoy metal, you can try this album (and the rest of Voivod's discography) with no problem. Nothingface was meant to be their commercial breakthrough, featuring more accessible music compared to their previous albums, while using the progressive aspects from its predecessor. It wasn't that much of a commercial breakthrough unfortunately, but we got an even better type of breakthrough: A Creative One. The album starts with The Unknown Knows: A catchy, progressive and heavy track. A very defining track as the rest of the album sounds alot like this one. One of my favorites from the album. Gotta give it five stars because of how unique (and well executed) this album (and the rest of Voivod's discography starting from Killing Technology) is, and how well executed its ideas are. Review by UMUR Special Collaborator Honorary Collaborator. The inclusion of the brass arrangement to "The End of Dormancy" works really well and gives the song a bombastic quality. Voivod experimentet with string arrangements on "The Wake (2018)" (on "Iconspiracy" and on "Sonic Mycelium" ) and now with a brass arrangement on "The End of Dormancy" , see them come out as victors. I�d not give that trend up just yet as those experiments definitely provide some spice to Voivod�s already adventurous songwriting approach. The live version of "The End of Dormancy" , which also features the brass arrangement, and the live version of "The Unknown Knows" are both well performed and both also feature a good quality live sound. Listening to the same track twice on a release (although in two different versions), is seldom something which pleases my ears and I can�t say this EP changes that. So while the quality of the performances, the material, and the sound quality of both the studio track and the two live tracks are of a high quality, the EP as a full listening experience does suffer slightly from the live version of "The End of Dormancy" directly succeeding the studio version on the tracklist. I think it would have worked better if "The Unknown Knows" had been placed between the two versions of the title track. So there�s nothing wrong with the content of the release, but a good tracklist flow is important too, and that�s where this EP score low. A 3.5 star (70%) rating is still fully deserved. (Originally posted on Metal Music Archives) Review by BrufordFreak Collaborator Honorary Collaborator. 1. "Intro / The Unknown Knows" (5:55) Great opening. Vocal more like The Clash or The Ambitious Lovers.(8.5/10) 2. "Nothingface" (4:14) more of an avant vocal with a mezzo metal sound palate. (8.75/10) 3. "Astronomy Domine" (Pink Floyd cover) (5:30) suitably metallized. I don't really know (or like) the original) so this is a nice improvement. The best sounding song on the album so far. (9/10) 4. "Missing Sequences" (5:50) opens with a sinister musical and vocal display, until a shift at 0:45 takes it into more technically proficient punk territory. Weird chordal and tempo shifts beneath the singer's constant delivery. Too many shifts. It's as if many riffs and cut from other songs or ideas got all spliced together for this one. Weird, but kind of cool and clever. (8.75/10) 5. "X-Ray Mirror" (4:28) opens a little Crimsonian before turning more tech-metal. Vocally, I'm reminded of Bowie, Zappa, Peter Hammill, and Arto Lindsay. Nice guitar work throughout. (9/10) 6. "Inner Combustion" (3:48) IMHO, the Peter Hammill-like vocal doesn't really fit with the music. Arto Lindsay stylings in the second half. It's as if the band of musicians and the vocalist are operating in two different universes. (8/10) 7. "Pre-Ignition" (5:12) the most complexly constructed and cleverly executed song on the album, for once the lyrics are paled by the work of the musicians. (8.75/10) 8. "Into My Hypercube" (5:04) opens with a soft, gentle sonic palette--even the whispery vocal--until 0:35 when full power distortion is engaged and the vocalist restores his grit. Kind of a cool BLUE 'YSTER CULT Secret Treaties vibe to this one. (8.75/10) 9. "Sub-Effect" (4:30) not sure why, but I think this is my favorite song on the album. I think it's the melody and fitting shifts. (9/10) Total Time: 44:31. I imagine people who like intelligent lyrics set to thin-walled guitar-bass-and-drums metal would love this. B/four stars; an excellent heavier contribution to Prog World--especially as it's coming from the 1980s! Review by BrufordFreak Collaborator Honorary Collaborator. 1. "Fix My Heart" (4:57) pretty straightforward rock song. (8.25/10) 2. "Moonbeam Rider" (4:11) more movement from this song leads to a more interesting listen. I like the EDGE/U2 chords between the verses and choruses--and then NEKTAR arpeggi in the soft part of the third minute--which is followed by an awesome little solo section. (8.75/10) 3. "Le Pont Noir" (5:43) Leonard Cohen gone dark? Works for me! A top three for me. (8.75/10) 4. "The Nile Song" (4:00) interesting cover of Pink Floyd. Almost OZZY-SABBATH-like. (8.75/10) 5. "The Lost Machine" (5:53) I love the start to this one! Then it settles into a kind of heavy CARDIACS feel, with a surprisingly straightforward structure. The switch at 2:40 is rather drastic and not altogether engaging. Luckily, it doesn't last long--we're back to the main motif by 3:25. Another top three song. (9/10) 6. "Time Warp" (3:54) I like the vocal of this one; the U2-like music is okay. The chorus is great. (9/10) 7. "Jack Luminous" (17:28) a very cool song, great construction. My other top three. (32/35) 8. "Wrong-Way Street" (3:50) "Radar Love" with more U2/EDGE guitar. (8.5/10) 9. "We Are Not Alone" (4:27) another amped up U2-War-like intro before the song takes off into KINGSTON WALL territory. Interesting! (8.75/10) Total Time: 54:24. B+/4.5 stars; a surprising score for this album that is much more interesting and accessible that it's score would seem to indicate. Hmph! Still, a near-masterpiece of prog-oriented Heavy Metal. Review by UMUR Special Collaborator Honorary Collaborator. "The Wake" continues the sci-fi themed style of "Target Earth (2013)" and feels like a natural successor (although "Target Earth (2013)" is overall a little more raw and thrashy). It�s through and through the sound of Voivod . Creative dissonant guitar riffs and jazz/fusion influenced guitar solos, heavy bass lines, organic drumming, and lead vocalist Denis "Snake" Belanger�s distinct sounding vocals in front. Voivod were never an easy or accessible listen, and they haven�t eased up on the oddities or the adventurous and challenging songwriting on "The Wake" either. The surprise element may be gone after all these years (although the successful use of a string quartet on "Iconspiracy" and "Sonic Mycelium" definitely is something new in the Voivod universe), but Voivod are still a force to be reckoned with, both musically and creatively. Voivod have been through some different musical phases in their long career and if I have to compare the sound and atmosphere on "The Wake" to something else the band have released, if would be a combination of the three albums released in the years 1989-1993. The music on "The Wake" features some of the odd and twisted musical ideas and dissonant riffs of "Nothingface (1989)" , the occasional melodic moment similar to " (1991)" , and the sci- fi atmospheres and storytelling of "The Outer Limits (1993)" . There aren�t that many elements, although "The Wake" is occasionally a pretty heavy release. "The Wake" features a powerful, organic, and detailed sounding production, which suits the material on the 8 track, 55:57 minutes long album perfectly. It�s not an album which grapped me immediately and it took a few spins to sink in and for me to be able to tell the tracks apart, but given a few spins it�s a very rewarding release, featuring many details and intriguing musical ideas. I haven�t always been impressed with Voivod�s post-2000 output, but they managed a return to form with the release of "Target Earth (2013)" and with "The Wake" they prove that the high quality of the direct predecessor wasn�t a one-off. In fact I think "The Wake" may even be a step up in quality from the predecessor and a 4 star (80%) rating is deserved. Voivod free download. September 15, 2012, 8 years ago. hot flashes news voivod. Canadian metal legends VOIVOD have a free app available for all smart phones. Download it from any app store or go to this location and see an exclusive video preview of the new song 'Mechanical Mind', out next month. As previosuly reported, to coincide with the band’s 30th anniversary - the band was founded in late January, 1983 - Voivod's own company, Iron Gang Factory, joins with global powerhouse Century Media Records to release Target Earth on January 21st, 2013 throughout Europe and on the 22nd in North America. The band comments: “Our goal has been to find a partner for Iron Gang Factory to help get new Voivod music to the world and Century Media, we are proud to say, is the right company to do so globally. We can't wait to release tour and promote Target Earth.” Voivod’s career path has endured as many shifts and disturbances as the music itself. From major label deals and big-time tours to slogging it out in clubs while metal went through growing pains in the mid 1990’s; from high profile bass players to unknown substitutes, the Quebecois prog metal pioneers have persevered through thick and thin to arrive at a comfortable place in 2012 - a place of rebirth, rejuvenation and respect. Voivod’s 30th anniversary celebrates their career as one of metal’s most influential bands. The handful of live albums, reissues and DVDs that began to surface in the past ten years proved how beloved this band really is, and now comes another album of inspired fresh material that proves Voivod still have many new paths to travel. What band continues to redefine and reinvent themselves 13 studio albums and 30 years into their career? There is only one answer to that question: Voivod. Voivod have just announced a next European tour for October 2012 including the following headlining dates, as well as support shows with new label mates ARCH ENEMY in Spain: 3 - The Exchange - Bristol, UK 4 - NQ Live - Manchester, UK 5 - The Well - Leeds, UK 6 - The Village - Dublin, Ireland 7 - Garage - London, UK 8 - Magasin 4 - Brussels, Belgium 9 - Doornroosje - Nijmegen, The Netherlands 10 - Turock - Essen, Germany 11 - Loppen - Copenhagen, Denmark 12 - Betong - Oslo, Norway 13 - Brew House - Gothenburg, Sweden 14 - Hafenklang - Hamburg, Germany 16 - Cassiopeia - Berlin, Germany 17 - Progresja - Warsaw, Poland 18 - HooDoo Club - Prague, Czech Republic 19 - Dürer Kert - Budapest, Hungary 20 - Bloom Club - Mezzago (Milan), Italy 21 - Bad Bonn - Düdingen, Switzerland 22 - Le Korigan, Luynes, France 23 - Totem - Pamplona, Spain (+ Arch Enemy) 24 - Cine Teatro - Corroios, Portugal 25 - Capitol - Santiago de Compostela, Spain (+ Arch Enemy) 26 - La Riviera - Madrid, Spain (+ Arch Enemy) 27 - Razzmatazz 2 - Barcelona, Spain (+ Arch Enemy) 30 - MILK Club - Moscow, Russia 31 - Nosturi - Helsinki, Finland. VOIVOD. 'Voivod' is a triumph, in that it pushes the band back on course to continue the natural evolution that was derailed in 1994. Songs remain rock- based, moreso than their earlier thrash and tech-metal efforts, but the progressive mindset is there, as always. Piggy's guitars come uncannily close in tone and chord voicings to 'The Outer Limits'. But the revitalized rhythm section pushing the momentum forward with a semi-chaotic ferocity is the key element that brings a smile to the face of any longtime fan, even moreso than the return of Snake at the mic. Opener "Gasmask Revival" embodies the energy and pride of this refreshed lineup, a song similar to 'Angel Rat's "Panorama". But the most welcome tunes are the more eclectic ones, with "Divine Sun" sounding very much in the 'Angel Rat' vein with its shimmering psychedelic rhythms and Snake's introspective touch. "Facing Up" is another high point, offering a sobering reading of the state of the world given serious gravity with a mid-paced groove, melting into a crescendo of frantic paces. One of the best moments on the album comes at 2:33, where Piggy's open chords offer a wonderful cyclic melody, with Snake singing the bridge ("Too many problems of science involved. ") in phrasings reminiscent of the 'Nothingface' era. "Blame Us" is similar to "Facing Up" in pace and vibe, evolving into a gorgeous ending sequence of psychedelic gloom. Moments of "I Don't Wanna Wake Up" are inspiring, going from the sensitive opening to choppy dissonant rhythms and awesome chord choices from Piggy. "Reactor" and "Rebel Robot" are balancers, offering a more crushing attack than anywhere else on the album. fear, chaos, anger, paranoia and environmental questions coming back into the band's realm of concerns. The production is magnificent, every musician's character given greater life thanks to the clear and punchy recording. It's Snake who would've benefited from less presence in the mix, his voice spiking out way too far, covering up the music and doing no favors to a voice that is an acquired taste to most (even I, a diehard fan, have a hard time listening to his wailing on "We Carry On"). But for a continuation of the true Voivod evolution, this is one hell of a start. Further, the hidden "song" (according to drummer Away they call it "California") hints at the experimentation Voivod are currently promising for album #11, due in early 2006. Bring it on. Quite simply put this is not prog. I find absolutely nothing about this album that hints it is progressive. The music is bland and simply structured lacking melody and other musical traits related to the progressive style. I don't exactly know why Voivod is featured in the archives, but I cannot say it was a wise or even moderate decision to add them. I will begin my review of the album by asking a question. What punk band did this guy come from. The vocals are aggressive and show no particular skill. Was Snake in the band because he was a friend or because the band actually thought he could sing. The aggressive punk vocals don't any character or sophistication to the album. In fact they keep more musical things from happening by taking up too much of the mix. Piggy's guitar is built entirely around riffing. There isn't much melody, virtuosity, or creativity coming from this guy. At times some of the parts are quite catchy, but progressive music is something more than catchy. The guitar playing is much more of a metal vein than the vocals are, but it definately takes quite a bit of punk influence, which I thought was the opposite mentality of prog. The bass is all groove. I don't really have any complaints of Mr. Newsted's performance, but I can't exactly say he's done anything that strikes me as creative or musical. He's basically doing the minimum job of holding down the groove for the rest of the band to show some technique. The problem is the rest of the band doesn't show technique. The drums are basic, there is some delicate cymbal work at times, but once again like the rest of the band, doesn't show any particular skills on his insturment. His playing isn't muddled, but there's nothing about it that makes me want to listen to it. The production is alright for the release it is. With an album like this, the listener can exactly expect crystal clear tones with a variation of synths (obviously there are none). The guitars are dirty and specialize more in chorded playing. The bass has got a lot of bottom end, but never seems to be clear in any other range. The vocals are extremely dirty, which isn't a fault of the producer because the vocalist is of such a dirty style. The drums are clear, but there is nothing interesting about the tone. Many drummers have a distinct attack, but there's none of that here. This is a one star album. It lucky to even get that because i shouldn't be reviewing a non-prog album on a prog website. Compared to the harder edged sound on the two led albums "Negatron (1995)" and "Phobos (1997)" , Voivod has taken a step back to the more melodic alternative/ slightly progressive metal sound they embraced in the early nineties. Especially "Angel Rat (1991)" comes to mind, but the material on "Voivod" isn�t nearly as memorable or innovative as the material on "Angel Rat" (or any other of the early Voivod albums for that matter). 13 tracks distributed over 65:38 minutes is a bit much when the songs don�t stand out more than they do. It�s not like there are any particularly bad tracks on the album and as such the quality level is consistent, but highlights are few and far between, which makes the album a rather standard/ mediocre release. On the positive side the musicianship is excellent and the production is warm and powerful. The tracks lack a bit of edge and surprising instrumental moments, but there�s no denying the delivery is professional. All in all "Voivod" is a decent comeback album by Voivod , but it doesn�t add much new to their discography. I had hoped for more but a 3 star rating is still warranted. New bass wielder Jason Metallica adds a nice groove and power that we hadn't heard on previous Voivod albums. It's supported by the drums in a ceaseless 4/4 mid-tempo. The guitars as well are kept straightforward and are mainly reduced to catchy grooves. While all this could still bring about a great rock album, the effect is largely destroyed by Snake's forced and monotonous delivery. He proves to be the biggest disappointment on this record. He had never been much of a vocalist, but the years he spent away from Voivod apparently didn't do no good. Compared to the outstanding '88-'93 period where they offered consistently frightening, oppressive and overwhelming music, this album is no match. But it's a decent rock album in its own right. Six years had past after Voivod came out with 'Phobos'. Along with 'Negatron', mid-to-late nineties were a somewhat depraved time for Voivod, and lacking the distinctive voice of their frontman Denis Belanger, it almost felt like a different band altogether. Although the bass was now being handled by someone new, this was essentially a return to the way that Voivod once was, for the most part. Although the songwriting here lacks the same adventurous spirit and classic quality about it as did Voivod's early material, there is still a good batch of tracks here that should pleasantly satisfy the band's fanbase, provided they don't expect something as exciting as their earlier material. Voivod's self-titled somewhat reminds me of Metallica's 'Black Album' in the sense that their core sound is still there, but alot of what made them originally so damned intense has been sheathed away. Mostly, the unexpected time signature changes and dissonant riffs have been done away with, and while Voivod's unique sound is still here, it feels like Voivod-lite. There is still spaciness, but it is generally a tame feeling, and most noticeable here are the surprisingly conventional riffs. Piggy is one of the greatest guitarists in metal for me, but hearing him here, his genius is much less evident, maybe sparing a few quirky riffs and a distinctive guitar tone that is used throughout. The songwriting here is pretty good, and it is very clear that it is Voivod the listener is dealing with, even barring the unique way that the band performs. Although this is still on an entirely different plane than 'Negatron' or 'Phobos', I very much believe that 'Voivod' could have been much better than it is. Even with the conventional riffs, things are highly enjoyable, but the monotony wears thin within a few tracks. This is because Voivod have made the sometimes fatal pairing of keeping their sound and direction generally the same throughout the entire thing, and being over an hour long in length, even a diehard Voivod fan will be likely to think that the thing could do with a little trimming. Had I listened to this at the time it came out in 2003, I would have been pleasantly surprised to hear the Voivod I love making a return to form. In the overall scheme of their career though, it feels like the self-titled album can only pale when compared to the truly innovative stuff that the band did in the 80's and early 90's. 'Voivod' is still a good album, but doesn't hold the same place in my heart as do the classics. It is something that he has been contemplating since 1995, and he has now joined Snake, Piggy and Away who were all members as long ago as 1984 when the band first came to public recognition. I know that they have released many albums that are viewed as important, but for some reason I had never heard any of their music and somehow had formed the impression that they were noise merchants. But that is a long way from the truth, as this is a solid slab of metal that moves and grows and is extremely powerful and forceful. Jason has linked up with Piggy in a way that is most unusual. Normally the bass guitar sticks with the drums, laying down a rhythm for the guitars to pit against. But on this album the bass and guitar are often locked together which gives it a distinctive solid sound. Even Mot�rhead, who have some of the most powerful bass guitar in the business, don't do it like this as in that case Lemmy is providing a rhythm guitar section. From "Gasmask revival" through to the last song "We Carry On" there is not a filler in sight. Fans of Metallica will flood to this just to hear what it sounds like and they will not be disappointed but rather very surprised and pleased indeed. This is a great album, spoilt only by the fact that it has been set so that it won't play in a PC, which for me is a real pain. Originally appeared in Feedback #72, Feb 03. Latest members reviews. After a break of six years, the reunited band comes back with this album and has once again completely changed its style. On this album, the band approaches a stoner or rock and roll sound with some alternative elements. The album begins very straight and powerful with the brilliant "Gasmask Revi . (read more) After a short inactive period Voivod returned with original singer Snake and big fan on the bass, who joined them after he had left Metallica. So this album can be considered as a comeback album. I had high hopes for the reunion album, but when I heard the songs, the hope vanished. . (read more) after two disasters the original line up is back, well almost cos new bass player is Jason Newsted who played once with rather unknown band Metallica. so the old lead singer back and there's so much air in the songs, Gasmask Revival is something like Fix My Heart on Outer Limits, very good roc . (read more) Post a review of VOIVOD "Voivod" You must be a forum member to post a review, please register here if you are not. MEMBERS LOGIN ZONE. As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums. You are not logged, please complete authentication before continuing (use forum credentials). BIOGRAPHY. The only predictable thing about Canadian cosmic-metal warriors Voivod is that they will forever be unpredictable. On the warpath for more than 35 years, Voivod have pushed their sound relentlessly forward, constructing imaginative musical realms with each endeavor. They literally changed the face of thrash metal in the ‘80s, forged new prog-metal ground in the ‘90s, and kept up with changing times and lineups in the 2000s with fresh, inspired music. In 2018, Voivod’s 14th studio album, The Wake, is upon us. The band’s original members, drummer Michel “Away” Langevin and vocalist Denis “Snake” Belanger, find themselves reinvigorated and reenergized by the presence of guitarist Daniel “Chewy” Mongrain and new bassist Dominic “Rocky” Laroche. Mongrain, now celebrating ten years in the band, has done a more than respectable job replacing original guitarist, the ever- beloved Denis “Piggy” D’Amour. His contribution to the making of The Wake was as integral to the new album as was Piggy’s leadership during his reign. The Wake steers the Voivod spacecraft through a tangled, tantalizing storyline, woven into the most maze-like, edge-of-your-seat musical experience the band have embarked upon since those heady days of the late ‘80s. Songs such as “The End of Dormancy,” “Iconspiracy” and “Spherical Perspective” churn and twist in such a way that no Voivod devotee could possibly have wished for more. While previous album Target Earth was a grand rebirth for the band, and 2016’s EP a promise of adventurous things to come, The Wake takes the approach of those recordings, widens the parameters, and introduces a few bold new facets to the Voivod soundscape: prominent acoustic guitars and classic music flourishes are woven into the controlled electric calamity. The Wake is sure to be hailed alongside previous achievements Dimension Hatröss, Nothingface and The Outer Limits. Chewy offers insight into the collaborative nature of Voivod song architecture: “I wrote a lot of the ideas and worked a lot on the details, but the song structures and general sound and identity of the opus is a team work. Snake recorded a few ideas on the bass and with his voice, which inspired me to create something with. Rocky wrote most of his bass parts and also song ideas, parts, and melodies. Away’s talent at structuring song sections is gold, and his groove on the riffs takes the ideas into a parallel world of which no one could imagine at the start.” He might very well be thinking of the 15/4 time signature driven by Away’s propulsive skin-beating on “Always Moving.” As for those new facets of the Voivod sound within The Wake, Chewy reveals that “the acoustic guitars were added as texture on the clean parts, but also over some distorted riffs. It helps hearing the colors of the chords more precisely, and we mixed it just loud enough to feel them. As for the string quartet, when I was listening to the outro of ‘Sonic Mycelium,’ I was hearing strings in my head, so I got to work and wrote a three- minute arrangement for string quartet. The quartet was fun to work with, and since we had them in the studio, we added a few sparkles on other songs. There is a part in ‘Always Moving’ which is inspired by Stravinsky. Classical, jazz, metal, they use the same 12 notes, so why not borrow some ingredients from other styles? It’s refreshing.” The journey of the album is deepened by a compelling storyline, which Snake summarizes this way: “In the wake of an incredible discovery that created a monstrous disaster, the whole world will live through a series of events that will force humanity to understand the new reality and the concept of not being alone in the universe. Not without a fight, not without chaos and conflicts, not without plots and conspiracy. Some will accept and some will deny the truth. Religions will fall to create new ones. But eventually, the world will reach a new level of conciousness, a new spirit, a new way to look at the sky.“ It’s all revisited and resolved in the 12-minute closing song, “Sonic Mycelium,” which also quotes from 1993’s “Jack Luminous” epic. “That song is a sort of medley,” says Snake, “of all the other songs on the album. It mixes riffs and musical parts, but in a different order.” Of course, no Voivod album is complete without the inimitable artwork provided by drummer Away, who notes that the cover “depicts us, the band, as four Voivods holding a vigil for a dead planet.” Hence The Wake, an incredibly captivating slice of sonic escape from the masters of cosmic metal, and an album that sits confidently next to the many top-tier achievements of their past. Forever forward, always moving.