PAST TO PRESENT
Until quite recently, VOIVOD were a name completely lost on me, but with a tape thrust in my hand and an interview to do mighty quick, it was a case of push-button play and let the music do some talking. As my speakers rattle from the manic crash of "Panorama" and the wallpaper curls from a menacing guitar run that blares across the room, the evidence becomes plain to hear; Voivod are mean. Mixing the demented chants of punk with lightning offbeat grooves and the trickery of familiar techno albums gives only a vague idea. Throw in some weird sounds, some crazy chaos, a bizarre twist of metal, and we're somewhere near the mark.
According to the press release, Angel Rat, their sixth album to date, is commercially more accessible and less hard and aggressive than any of their previous releases. If that's the case, they must make for some very explosive listening. Commercial as they've supposedly become, Voivod still display an aggressive tinge of warpedness and are not afraid to explore the darker side of their nature. In an attempt to find out something about them, I contacted Michel, their drummer, a male French Canadian (not a bimbo from Basildon, in case you wondered), and questioned him on the band's commercial strategy. As England and Canada make contact, I hear a barely audible French accent that really does sound thousands of miles away and await a distant reply.
"We wanted to put everything in place and make a better record. The playing is better and the songs too. There is less craziness. We are trying to reach a wider audience."
What kind of audience have you got now then?
"A very extreme audience who like music to be heavy and metal-based, but also very alternative. We've always been what you call an underground or a cult band, but being on a major label means we must try and expand our support, because, if we don't sell albums, we could end up getting dropped."
Isn't there a risk you will alienate the support you've got right now?
"No, because we haven't changed dramatically. We've just adapted structures to what we're doing. We still play with passion and excitement. The vocals are different from most rock bands. They're very similar to the style on the punk records of the 70s. There are guys in the band who are fans of English punk bands like the BUZZCOCKS and the PISTOLS. But our singer's favourite band is VAN DER GRAAF GENERATOR, so any similarity is unintentional. I can understand the connection because all of our favourite music comes from England. I myself like Van der Graaf, but the best for me was KING CRIMSON. I think this kind of music is still ahead of anything since."
I don't suppose there are that many bands coming out of Canada with such extreme influences.
"If we came from London, people would consider us pretty weird. Coming from French-speaking Quebec makes us even more of an oddity."
Even more of an oddity if you sang the songs in French.
"Yes, maybe we could have done that and been accepted at home or in France, but worldwide no one would have taken us seriously."
Did you have problems getting people in the industry to notice you?
"Yes, companies are always looking to see what's going on in LA or New York, but who cares about some French-speaking band in the middle of Quebec? We got accepted by doing lots of gigs and letting people know who we are. We've become a big attraction in Canada and also in the States."
What about the UK and Europe?
"We haven't played there since 1986, but a tour is being set up for later this year or at the start of 1992. We are looking forward to seeing the reaction we get when we play. I think we will do well because most people will recognize the connection with England when they hear us play."
How tracks like "Golem" or "Nuage Fractal" relate to life in England's so-called pleasant land, I've yet to fathom. But this strange, aggressive mix will certainly win support along the way.
Michel called his audience back home extreme, and it's easy to imagine a collection of metalites, punks, pomp rock wizards, and underground progressives getting something from the curious Voivod collection. I wonder, though, whether too many influences might work against them and direct this thought at Michel.
"Too many influences is not enough. Influences can be very interesting, and mixing them up is what we like to do. We come from many directions, and the audience will understand that."
As Michel enthuses about the significance of classic records like Court of the Crimson King and the historical importance of In the Wake of Poseidon, I ask if he believes Voivod can spark a British underground revival.
Mike Harris
Riff Raff
January 1992.
"I don't know if we can do that, but if Crimson or Van de Graaff can reform and other bands form to play this kind of music, I believe music will push itself to new limits. We will find so many new things."Interesting man, Michel. Wonder what he's on?
Mike Harris
Riff Raff
January 1992.
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