I felt inspired to write this for the VoiVod.net forumers and figured I'd post it here as well. VoiVod continues to be one of the most influential bands in my life and, I think, one of the most influential bands in "metal" or, even, "progressive metal," though I know that last title will irk some because they think of Dream Theaterish singing/musical style, etc.,when they label something "progressive metal."
While, for me, VoiVod has produced much that is excellent and influential in their distinguished career -- and I perceive flashes of this on their latest release with Jason Newsted -- I believe Nothingface is to date their crowning achievement.
Not only their crowning achievement, but possibly, for me, the most significant CD ever produced, ranking in the lofty heights of my list with Metallica's Master of Puppets and Fates Warning's Awaken the Guardian.
Frankly, I don't wish to discuss -- open yet another debate -- about what is VoiVod's best effort...this is simply my Ode to Nothingface, an album that -- as far as music can -- altered me in some definitive fashion, altered what I cherished in music (so important in my life), altered forever my own guitar playing, set a new standard for what I considered (and still consider) innovative "progressive" metal...again...out of the, literally, thousands of albums/CDs I've listened to since the early 80s (I'm 35 years old), ONLY Master of Puppets (as a whole) impacted me as much and, specifically, John Arch's singing on Fates Warning's Awaken The Guardian (not even the band as a whole).
I'm not compelled to evaluate Nothingface song-by-song. Many on this forum and elsewhere already know the songs. I must, of course, reference some songs as I distill the essence of why I feel Nothingface is one of the most important works of Art I've ever encountered.
As VoiVod progressed -- and I mean that word in the truest sense -- from the kind of metal/punk beginnings of their early works, they were barely even on my radar screen (and I heard them quite a bit) as far as being a band I thought would one day interest me in the slightest...let alone one day ... well... Write this Ode.
Then along came Killing Technology and my eyebrows perked...then Dimension Hatross ... And they, to me, clearly were developing this sort of "B-movie" sci-fi feel lyrically and musically. In fact, I feel no band has EVER captured the sound of "pulp" science fiction better than VoiVod. To this day (I believe I even mentioned this on another band's forum not to long ago) the intro to Tribal Convictions is one of the best....captures a sci-fi feel like no other band has matched.
I'll ponder this for a moment: The "sci-fi" feel. What is it? What are its components? Most importantly, from a creative standpoint, what is the mindset/point of view of the members of VoiVod that enabled them to capture this "sci-fi" feel better than anyone in the history and I daresay...future...of metal?
Is it lyrics? Well, yes and no. Anyone can write "sci-fi" lyrics. Snake's are exceptional though, especially on Nothingface. But...it's more than just writing lyrics about robots and space travel, as general subjects. Snake, better than ANY singer, including King Diamond, "inhabits" the characters of his songs. He often SOUNDS like a robot, purposefully...he "sneers" some of his sci-fi poetry. Snake becomes the characters (on Nothingface). He's not Snake singing them. He's an actor. He's not on the outside looking in, an artist trying to create sci-fi, he's on the INSIDE looking out. He IS SCI-FI.
Struggling for useful analogy, I'd say Snake is kind of like...William Shatner is to Captain Kirk. The two are indistinguishable...Shatner IS KIRK, and vice versa. Even when Shatner plays another role...he CAN'T ESCAPE KIRK. Snake is that way in relation to his sci-fi lyrics/persona. Even (as on the new album and a few times in the past) he is Snake (yeah, I know that's not his real name, but you get what I mean), he doesn't sound, to me, as authentic or as in his element as when he's a character he's created to inhabit a song.
Same with Piggy...and to even moreso. Any guitarist can attempt to create a sci-fi feel with delay peddles, echo special effects, etc. Currently, the guitarist for Incubus does it quite well. But -- in the same manner I attempted to describe the difference between Snake and others singing sci-fi-ish lyrics-- Piggy somehow isn't a guitarist with neat effects attempting to capture a "sci-fish" feel...his playing IS sci-fi through and through...from its conception, the chords, the time signatures, the effects, the progressions, fusing chords and progressions not normally fused...his very playing is a distinct style...so distinct that I've NEVER heard another guitarist create such a style, from a rhythm guitar standpoint.
Again, let me be clear: From a rhythm guitar standpoint, Piggy, especially on Nothingface, is one of the most unique players I've ever heard in any genre of music that features guitar. However, conversely (and strangely), I find his lead playing somehow less innovative and inspiring.
There are chords/progressions on Nothingface that stand apart style-wise from any other metal/progressive metal. So distinctive that only Piggy could've created them. In fact, if someone else played in a similar vein, they would be copying him. I'm still in awe today -- 15 years later -- of the rhythm guitar in the song "Inner Combustion."
It is EXPLOSIVELY creative...the rhythm guitai....any guitar player who writes metal or progressive metal songs will agree. It has nothing to do with speed or sheer complexity (ala Watch Tower and certain segments of Dream Theater)...it is all to do with Piggy's unique fusing of chords and, what appear to be, fractured chords (that's an inaccurate, but I think helpful way to describe them). To EVEN HAVE CONCEIVED/CREATED A SONG WITH THESE CHORDS AND THIS STRUCTURE...that's the wonder of Piggy.
In the same manner, Away's drumming creates the same effect. Syncopated. Mechanical sounding (not just mechanical drums...regular drums played in a manner that at times sounds like a robotized factory)...accents at times the odd guitar playing. If I had more time (I'm running out now!) I could elaborate on this much more.
Former bass player -- so as to not open that can of worms, not to mention I'm VERY glad Jason Newsted has resurrected this band, I'll just leave it at the former bass player had as much to do with their unique sound...not trying to sound sci-fi, but BEING SCI-FI...as the rest of the band and to this day the sound of his bass on Nothingface ranks among my favorite bass sounds on any CD from any band. It was unique, not to mention his chording (which was often as complex as Piggy's).
I couldn't even tell you plot point by plot point the saga of the VoiVod's strange quest through the galaxy. I, for one, don't need to analyze every detail of the plot...it's the impression the songs leave me with...this hi-tech, sci-fi, B-movie, psuedo-science poetry...it sounds exactly as Away's artwork looks.
Well, I've probably bored you to death and time is running short...and I feel like I've not even scratched the surface of what I have to say about the masterpiece Nothingface. Again, though I've only referenced one song on it, this entire Ode is the special impression Nothingface has left on me.
Nothingface is an experience. This kind of dreamy wandering...perhaps best enjoyed while high or drinking. I travel with VoiVod on Nothingface across the universe, contemplating incomprehensible things. I believe I said that same thing about "Sick, Sad Little World" on the new Incubus CD...but it's even more appropriate to be said about Nothingface as piece of art. Dreaming of a world that doesn't exist, of characters and strange feelings that only exist on that CD.
posted April 22, 2004 14:31
posted April 22, 2004 15:12
