Cybervoid

Many bands have tried to keep up with the times - both niche, underrated and bigger names. The examples could only be multiplied, although this is hardly surprising; after all, it has been quite a popular phenomenon since the mid-1990s. A similar problem affected the Canadian Obliveon, which is a bit out of the way and - unfortunately - not very popular. After two brilliant and very unique albums, these guys also wanted this type of risky changes and thus abandoning the prog death/thrash in favor of styles that are more current and more accessible to the average ear. Expanding the line-up to a quintet, including vocalist Bruno Bernier (and Stéphane Picard mainly played bass), the Canadians, with the release of their third album, "Cybervoid", in 1995, moved into the mechanical, groove metal atmosphere that was gaining momentum at that time.

However, "Cybervoid" is an interesting case in that, because it's an album that I was not able to get into at all at first and all contact with it ended somewhere in the middle of the album (and with total disgust), and after some time, I...really like this album and appreciate the departure from the previous course! Well, sometimes you just have to make a false first impression of a specified album - a trap you can fall into here. On "Cybervoid", the Canadians stepped into simpler, dehumanized and jerky style, such as Fear Factory, Pantera or even Machine Head, although as it was 1995, associations with more popular names here are highly conventional - they more clearly illustrate a different direction target. Of course, some technical points common to "Nemesis" also appear on "Cybervoid", although they constitute a background for the groove core. The older patterns are only hidden where there is a more advanced theme and thrashy riffing or occasionally the bass is audible. Moreover, on "Cybervoid" we are accompanied by heavy, disciplined metal with a very digital atmosphere, although quite diverse and not as poor as it might seem.

So what speaks for such a positive view of this album and in fact it shouldn't? A large number of hits (that can easily compete with the above-mentioned names), an engaging album concept, a really great production, high creativity and - similarly - a large number of ear-catching patterns. The leaders in this respect include "Downward", "Subgod", "Android Succubus", the title track, "Deus Ex Machina", "Perihelion" and sung mostly in French "Biomécanique", which is quite a large number of songs. An equally good impression is made by the more experimental, industrial ending of the album in the form of "Psychomatrix" and "Drift Of The Spheres", where there is much more space and feeling for intricate sounds and the title cyber-void. And by the way of the vocals, the new vocalist, Bruno Bernier, did really well - he's nothing compared to the previous aggressiveness, but his singing fit such an automated vision of this music. Even the clean vocals, another novelty (although performed by Picard), in "Sombre Phase" fit the overall atmosphere of the album.

So despite the drastic changes and the departure into groove emtal, "Cybervoid" is really solid. Although the band's style became much simpler, rhythmic and much more industrial, the Canadians managed to maintain unconventional and veiled composition structures. Maybe not to the same extent as before, but still rising above the average in the genre - also among the broadly understood groove metal.

Originally on A bit of subjectivism...in metal

A curious album, from a curious band. Obliveon hail from Canada and until last year I couldn’t get this damn CD anywhere. For years I had a decidedly ropey cassette copy and then a few years back I managed to get hold of a somewhat better version, but still I searched for the original, but to no avail. Thankfully, last year I finally managed to get hold of the genuine article and I’m glad I didn’t give up, cos this album is pretty damn good.

The best impression I can give you of the sound of this album is of a more melodic and less convoluted Meshuggah. It’s not entirely accurate, but I would defy anyone to dispute the numerous similarities. Not least the Pantera-esque riffs and beats, which I usually despise but here are perfectly acceptable. The vocals too are not dissimilar, albeit a touch less aggression and undoubtedly more 1998 than 2008. There’s none of the jazz guitar soloing of the ‘Shuggah mind, in fact the guitar solo’s are largely noticeable by their absence, but to be honest I’ve never really missed them. Some bands need them and some bands don’t, and Obliveon like Fear Factory can well do without.

On the production front, well, it’s okay. It’s nothing spectacular and that’s perhaps a little bit of a shame because a band of this style would probably benefit from a sharper sound. But at least it does have a bit of it’s own character and doesn’t suffer from the slightly generic overly-glossy sound that it could have suffered at the hands of Nuclear Blast or their like had it been released in the last ten years.

Overall then, a very good album, if not quite what you’d call a stone cold classic. And a definite item of interest for the open minded Meshuggah fan.

I was moved to write this in response to one of the reviews below, which said that Obliveon's obscurity was justified. I have always felt exactly the opposite, that they were one of the most unjustly overlooked bands in the history of metal. It will probably be ages before anyone stumbles upon this review, since they are so unknown. While a number of their fellow bands in the Quebec metal scene went on to become very influential-- Voivod, Cryptopsy, Gorguts, to name just a few-- Obliveon only developed a tiny following among tech-metal geeks like myself. Very sad, since I think they would appeal to a lot of people. I think they had just as much talent as anyone in the Quebec scene (and therefore in all of metal), which is saying quite a lot. They borrowed quite a bit from Voivod, I think, mainly in there cyber-metal tendencies and willingness to experiment, but they always had their own sound, which was very unique and unsurpassed. From the time of their first demo, the guitars in particular had a spacey tone to them that was harsh but at the same time downright beautiful. The drums always had their own style, too, although the drummer could wander off a bit at times. This unique sound is in evidence on "Cybervoid," although it's not their best album by far (that would be "Nemesis," the album before this one). I don't think it's as technical as their previous albums, or as catchy. The riffs tend to be of the stoccatto variety popular in cyber-metal. They tend to be short, and although they are played with precision, I wouldn't call them all that complex. But the music is hyptonic, almost trance-inducing. You feel like you're being drawn steadily into the grinding gears of some unstoppable machine. The music in general has a very mechanical sound to it. It has some progressive elements in it, with some unconventional chords and sounds inserted here and there. The lyrics are some of the best I've ever heard in metal-- really thoughtful and insightful, with real things to say, not just the usual stuff at all. The vocals are okay, a sort of mid-range growl, not quite a harsh as death metal, but probably a little beyond that of thrash-- they don't compare at all to the ones on "Nemesis," though, which were much more effective and extremely aggressive. The bass is nowhere in the mix, too, which is probably the one major flaw, since the bass really contributed a lot to their previous albums. Obliveon's music requires an open mind, since it contains elements that might put people off. It also requires time to appreciate, since there are a lot of subtle things going on. But they were one of the most inventive bands I've ever heard.

How unfortunate was it for even Obliveon's last full length release to not be as well recieved as Cybervoid. And album made in the middle of their career, and yet was the only one to have earned the slightest acclaim. Perhaps if they were a tad more dertermined to make an impact in the metal scene, they could have attracted more fans. Yet, due to the fact that their lack of a following is justified, I do not feel sorry for their infinitesimal existence.

Obliveon had some particularily good ideas, such as their intro to their title track "Cybervoid". Because of these ideas that are quite unique, they are not given justice by being refered to as Death/Thrash with industrial elements. One could be so boastful to claim that they are (were) outright progressive. Due to this, one can understand why they were never well recieved; they were too ahead of their time. Maybe Obliveon could have filled up concert halls if they appealed to the right audience, those who are interested by The Devin Townsend Band, but want something a bit Thrashier!

One detrimental aspect of their style is that they never (or rarely) guitar solo, which is one of the defining elements of Thrash. Therefore, Thrash fans who have been in contact with Obliveon would have rejected them within the first three songs! Obliveon do not have a solid structure for their music, and are rarely fast enough to be Thrashy. As they do not solo, their vocalist doesn't yell, he growls insufficiently - a vocal trait that is almost never used in Thrash. In all honesty, if I were a Thrash fan, I would be simply repulsed by Obliveon. The definition of their genre may be what screwed them out of fame.

Obliveon's percussionist is standard for that of Thrash, even including Double Kick (just not that often). Their bassist is not independantly heard, so he is void of any practical criticism, so I shall move on. Another weak point in their style is the disturbing similarity of their guitar riffs to that of Korn's. From the get go they didn't stand much of a chance. Obliveon makes up for this, of course, with their song writing capabilities that are interesting as well as charismatic and addictive. If I can say anything about Obliveon, it is that they are different! That is about all one can get out of Cybervoid, a one-dimensional album that is (Cyber) void of affect!

As it has been repeated, the band has departed from their attempted spotlight; however, if one wishes to become more familiar with Obliveon - just listen to Cryptopsy. Obliveon's Guitarist and Engineer Pierre Remillard currently is Cryptopsy's producer!

Technnical, aggressive, heavy. Just a few of the elements that make this album a must for all respected thrash fans out there.

It is not a thrash album per se, since it is not a full speed attack or a zillion-riff-per-song- festival, but most of the songs have a great groove and excellent hooks to keep you interested.

The musicianship displayed here is top-notch. Everything is perfectly executed. The production is clear and it adds certain taste to the whole "technological" atmosphere of the album. The riffs are different from one another and they are not based on regular rythm patterns, but on a harmonic game between the guitars and the bass guitar. Very interesting.

Songs like "Biomechanique" (which is the only one sung in french) are a perfect example of the groovy, mid-paced thrash phase of the album, while "Cybervoid" or "Subgod" show more aggressive vocals and music.

Obliveon has added some good aspects to their music since Nemesis, their second album, which, IMHO, lacks variation. "Cybervoid" shows a mature band, with excellent writing skills and interesting structured songs that build a really tight sounding album.

Sadly, the band is no more. And shame on us for not giving Obliveon all the attention and respect they indeed deserved!