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Voivod were truly in a league of their own. They started out as your average, everyday thrash act. Their debut "War And Pain" and "Rrröööaaarrr" were okay albums, but the change in sound that they were about to undergo would ultimately catapult them to legendary status. Yes, I'm talking about their progressive thrash masterpiece "Killing Technology". Let's take a look at one of the greatest progressive thrash albums of all time!
The record begins with the title track, which opens with the guitar mimicking the sound effect of a heartbeat monitor machine and these legendary 3 words are uttered... "WE ARE CONNECTED!" Then what follows is some amazing riffs and great vocals. Piggy is amazing, his guitar riffs, his solos, and the overall execution of what he plays on this record is absolutely breathtaking. Snake's vocals are excellent, they certainly fit the progressive nature of the record. Blacky's bass is highly audible throughout the record. His bass has a great tone to it, and it can be best heard on "Overreaction". Drummer Away puts on a stellar performance. His double bass is highly audible, and his drum fills are perfectly placed and they don't feel forced. Now let's take a look at some of the best tracks...
"Overreaction" has an insane main riff, and as I said Blacky's bass is highly audible. The guitar work is highly technical, it's pretty much technical throughout the whole record. "Tornado" is much of the same, but there is still lots of variety to be found. Piggy's riffs are outstanding, and Away's drum work is very complex. This is one of the highlights without a doubt! "Forgotten In Space" begins with some sick guitar work, and the bass mixes in quite well. The drums are pretty fast at some points during the song. This is another highlight, I recommend this one. "This Is Not An Exercise" has some of the best riffs on the record, and Snake's performance here is once again excellent. Like what more could you ask for in an album? This is perfect, every aspect of this album is spot on!
The modern day equivalent to this would obviously be Vektor. This record is like if Outer Isolation or Terminal Redux were to come out in 1987. This was truly ambitious for it's time. Voivod along with Coroner, Watchtower, Toxik, and Sieges Even all took thrash to the next level with their technical/progressive style. Killing Technology is by far my favorite Voivod record, this is some kickass stuff! I highly recommend this to fans of Vektor, Coroner, Watchtower, Toxik, and Acid Storm.
Highlights: EVERYTHING!!!
I've always felt that it was a weird misnomer calling Voivod thrash (well, not always, I didn't come out of the womb with a copy of Dimension Hatross). Their music has some similarities, but it almost feels like Venn diagram - where did thrash meet Voivod rather than where did Voivod "do" thrash - stuff rather than setting out to "thrash". It's clumsy to put Voivod's music in words, though, especially on this album. Discharge in space via a heavy dose of King Crimson with Motorhead playing only "off" chords and notes? Yeah, it doesn't exactly roll off the tongue. I mean, recently I told a friend "I'm going to Leeds to see some French Canadian progressive metal band play a punk venue. Do you want to come?" His response was something along the lines of "No. Fuck Dream Theater" and I can't really blame him because it's hard to sum-up what Voivod do... but he does like The Mars Volta... so perhaps I can. At any rate, Voivod were and are something altogether otherworldly.
Intertwined with their strange sense of melody and odd voicings (in every sense of the word), are the images the band conjures. Isolated horror in distant parts of the galaxy, the bizarre cruelty of the Morgoth science hospital... all strange enough but then it's rendered in a manner that makes them seem, whilst comic, altogether more unsettling. Visually, it's as odd as the artwork itself; it's certainly no surprise that the only person capable of rendering Voivod's music in a visual manner was their drummer, Away. It's simultaneously urban and out-of-this-world. There's nothing quite like it. Voivod have that Motorhead-like quality wherein they simply play "Voivod music" and most of our attempts at explaining it don't do justice. It's clear that the band do show their hearts on their sleeves but to name their influences still does not do final justice to the strange hodgepodge produced.
The lion's share of the praise tends to be heaped upon Piggy and, while one would be foolish to undermine his efforts, it's clear that his comrades in arms still carry more than their weight. Snake is the perfect vocalist for this style; I assume his slightly "off" - a key phrase with Voivod - accent might add a lot to this and his English, while certainly good, is tinged with some of the interesting nuances of a non-native speaker which just adds even more character to this strange brew. Away is, simply put, a fantastic drummer; his greatest strength is that he plays like he's - understandably - really excited by the music going on around him. If you ever get the chance to see Voivod live, make sure to keep an eye on him; he's genuinely passionate about the stuff he's playing. Blacky has always been the John Entwitstle of the band; highly unorthodox and capable of stealing the show when needs be but also a natural bassist who always knew exactly what would best serve the song at that moment.
Piggy was, of course, a genius and it's just staggering to think that how four musicians of such bizarre and high caliber came together in a small Quebec town. His note choices are beyond perfect and his playing can bring to mind players as diverse as 'Fast' Eddie Clarke, Robert Fripp, Bones and East Bay Ray. He was the driver of this mad train; conducting where the others are still moving along. It was said that Piggy was the only "real" musician in Voivod at their start and, whilst I might debate just how "sloppy" War and Pain and Rrröööaaarrr really are, it's clear that the rest of the band has kind of "learnt" around him. Yes, Piggy taught and the others listened. His electric scalpel is certainly missed.
If I were to choose a favourite or, rather, a starting point; I'd choose 'Ravenous Medicine', which was a video but not a single (which makes perfect sense as Voivod's music is very well suited to visual interpretation but not usually taken as a stand-alone single entity). That said, this is really as close as Voivod got to a "single" in the 1980s (Angel Rat's Husker Du-esque 'The Prow' should have set alternative rock radio alight but that's another story). It's just a staggering piece, though; Discharge-esque propulsion combined with ominous, striking guitars. Its driving kinetic energy make it a hard task to stay still; it's nervous like a rat pumped full of amphetamine, locked in a cage and told that it has an important exam the next day.
Probably the finest Voivod album, if you wanted my thoughts (I assume you did by reading this far). Start here and then based on what you like - either the visceral force or the progressive tendencies - move either forward or backwards. All systems go!
A low, pervasive hum accompanied by the sound of a heart monitor, suggesting some sort of futuristic medical laboratory. No sound of breathing. Where is the patient, then? Behind impermeable glass, perhaps, completely isolated, surrounded by automatic machines. For a paralysing moment, the steady beep of the monitor ceases. Has there been a mistake? An accident? But no, life begins anew, the rhythm steady, confident -- one might almost say, implacable. Suddenly, a grating, electronic voice fills the air: "We are connected."
Thus begins Voivod's third opus in the realm of apocalyptic heaviness. As everyone seems to know, the band's musical skill was advancing at an alarming rate. I can't begin to imagine how much they must have been practising their instruments between the early and late-80s, but at this point it's starting to be a little disconcerting, just how much development is occurring from album to album.
Make no mistake, though: this is still a wild and somewhat frenetic Voivod experience. They got a more balanced production this time around, with drums and guitars at a reasonably congruent level, and the bass very dominant, just the way we like it. Some real obscurity has crept into the riffing, along with a reletneless, mechanical feel that sometimes calls heavy industrial bands to mind. I've no doubt at all that Piggy and company were listening to a lot of different music and figuring out ingenious ways to slip otherwise unheard of things into their still-very-much-metal formula. This is also the last Voivod album where you can hear a lot of extended lead sections; not that they disappear entirely on future albums (the new guitarist being a stand-out soloist in particular), but Piggy adopted a "less is more" kind of approach after this, making any leads a tantalising experience rather than a display of eminent chops or showmanship.
So, what about the songs? They're fast, almost universally, with thrashing and "d-beats" prevalent, but almost all slow down for juddery machine-rhythm sections or weird guitar breaks. Lots of chords I can't identify that use higher frets are making themselves known, which would become a kind of trademark of the Voivod sound. It might be my imagination, but it seems as though the themes of the lyrics are reflected in the composition. "Forgotten in Space" has a tumbling, free-fall sound to it, calling to mind some desperate character spinning end-over-end while his brain starts to misfire and his oxygen runs out. What's becoming apparent, though, is that some order is starting to cohere in the Voivod world, and inevitably after the mad destruction of the previous works, the order that's been established is a cold and dystopic one. Vocals also reflect this, adopting a semi-robotic low buzzing that replaces the hysterical yelling some of the time, though as yet it's not totally established.
I already mentioned 'Forgotten in Space", and I do think it's a highlight of the album. Such immensely cool soloing, too. The title track is a mechanical monster with an intense, sinister feeling of dread, especially at the end when we are taken into one of those clangy mechanistic rhythm/riff sequences, and we hear that ominous voice repeating "We are connected. We are connected. We are connected." "Tornado" is what passes for "fun" on this album, with an infectious thrash chorus and real head-banging frenzy. It's really no wonder that it's still a live staple. "Order of the Blackguards" calls to mind some of the "road warrior" feeling of previous works, but there's something new and portentous on the horizon. The weapons now include cybernetic drones, and the machines could be their own masters already. What's responsible? nano-tech? Who can say. I have to mention "Ravenous medicine", which throws itself back and forth between a steady rock-ish riff and more intense sequences, with some really nice cymbal-work from Away seeming to lead the charge. And I really dig the buzzing, insectoid riffs of "Cockroaches", another fine example of content being designed to fit form; composition reflecting theme.
This is a very weird album that not everyone is going to like. While it's thrash metal of a sort, the prominence of the riff that usually marks this style is not so much a centre-piece here. That's not to say that riffs are unimportant, or of poor quality, but rather that they seem created to serve the work of art as a whole. It's almost as if the concepts were generated first, with riffs being constructed to fit that framework, rather than the other way round (as I think is the case with the majority of metal). It's long been a premise of mine, though, that the most interesting bands in metal are the really idiosyncratic ones. It seems that a lot of metal fans don't really come to grasp what the band is doing, and a lot of people who don't normally listen to metal might find something interesting to take away from their music. I want to be careful here and state emphatically that I'm not trying to say "Voivod are metal for thinking people" or any of that "we're above this noise" garbage bandied about by certain pompous musicians. All I'm saying is that Voivod is music for weird people, and that's at the core of their appeal. Even a pop Voivod album has got something attractively off-centre about it. But that's something for another day. Give this one a try. You may find it incomprehensible, noisy and unappealing, yet somehow keep coming back until it all fits into an alien symmetry in your head. It helps that at this point the musicians are undeniably on a high level, being able to cope with the unusual rhythms and changes in a precise and seamless way. Props especially to Away, a really underrated drummer in the whole field of music, who is able to combine an excellent sense of style, heaviness and a relentless and almost intimidating zeal for the very act of percussion, which does after all literally translate to "hitting things". Really, though, every unit in the Voivod collective is essential, right down to Snake's odd charisma with the singing, which seems to be one of those eccentric things about this band: not to ride too hard on the old cliché, but you either get it, or you don't. If you can "get" Voivod as a whole, I promise you that in the end it will prove one of the most rewarding musical experiences of your life. If not, don't worry; you might still have years to come to the truth. It certainly took me a while, but I have no regrets about becoming one of the converted.
We are connected.
Voivod have always been a terrific band, in their own league right from the start. But to be honest, their first two albums, however enjoyable, weren't that special if we take out the band's sheer personality and Away's iconic art. One can say that those albums were a Canadian echo of the work of brutish British speed metal's two dominant males, Motörhead and Venom, that pummeled the listener with their filth, grit & sleaze, to which Voivod just added a post-apocalyptic flavor (geekly discarding the sleaze part). But their third album is most definitely a very different beast. No longer content to roam the earthly toxic waste burning survivors to a smoking crisp as he went, mighty Korgull decided to go airborne and expand his dominions into outer space, where possibilities where as endless as Piggy's creativity. Killing Technology was truly the launching platform from which the Voivod rocket was ignited, to reach heights of splendor most bands can only dream about.
The four-piece had no trouble in releasing this colossal masterpiece during the 80s thrash metal heyday to easily compete with anything created back then, and it constitutes one of 1987's finest and top releases. Originality is the name of the game here, as Piggy's riffing style steals the show with ease, with his otherworldly atonal patterns and Fast Eddie Clarke-through-a-wormhole solos. The guitarwork at the 5-minute mark of "Forgotten in Space" is all you need to hear to realize the man was ahead of its time. Mind-blowing stuff is an understatement. I can't imagine what was like to listen to that in '87, as I discovered this band and record many years later and still impressed the shit outta me. The visionary axeman is greatly complemented and dare I say, enhanced, by the amazing rhythmic section of Blacky and Away. The former's powerful bass lines are as catchy and enjoyable as any other instrument here… or on any other album in existence, while Away's drumming, while not the fastest or most complex, is also quite original and groundbreaking. Among his varied percussive arsenal, he used immensely influential proto-blastbeats on several tracks here ("Order of the Blackguards", for instance), something quite innovative at the time, at least in this side of the Atlantic.
As for Snake, what can I say. Charisma is his middle name. Not only his singing style has a personality the size of a super nova, but the phrasing and pace of the lyrics delivered by him are something quite unique as well. That is another of the factors that have always separated Voivod from other bands; not only are the lyrics interesting and lexically deranged, but the rhythm and patterns at which Snake spits the words function just like another sui generis musical instrument at the band's disposal, another of their robotic tools to probe your senses and leave them simultaneously aching and in bliss.
"Hydrocarbonic smog, methane ice crystals
Ultraviolet rays in the galaxy core
Rotations and orbits of somebody
Atoms and molecules through my body"
Well, they were just getting started in that department, as it would be perfected in the following two masterworks released one and two years after this one, respectively, with Nothingface in particular showcasing Snake's Escher-esque lyrical construction and utterings. The themes found on Killing Technology might not deviate too far from the thrash formula of the time, the seven minutes of the monumental title-track dealing with the fear of atomic war and the dependence on machines, or "Ravenous Medicine" describing terrifying psychological and bodily experimentation, for example, but some of the ideas expressed here show some of the deep thinking they'd employ later on. While science fiction was not a new subject for metal, or even rock, Voivod's approach started to reach farther than most, and that, coupled with the fact that musically this record followed the steps and complexity of Watchtower's debut and Master of Puppets, resulted in another quantum leap for thrash metal into the prog/tech metal galaxy.
Starting a legend to be written in stellar dust to forever shine among the constellations of metal's elite celestial map, the release of Killing Technology thirty years ago, was the first in a streak of subsequent masterpieces that maintained almost unparalleled top-notch quality for any 80s metal band, despite progressively shifting style by escalating in complexity but toning down aggression, leaving the most conservative of their fanbase scratching their scalps in confusion. Indeed, if you ask some of the oldest Voivod fans out there, they'll tell you their favorite albums are the '84 debut and 1986's RRRÖÖÖAAARRR, before Voivod became "weird", their primitive reptilian brains not able to process the warp speed level of (use your choice of: 'evolution', 'mutation' or 'ascent') the Canadian outfit experimented before their confused eyes. I understand and respect that appreciation of the good old straightforward metal approach, but Voivod proved to give and be SO MUCH MORE than a mere Canadian Venom. So excuse me, but no… the good stuff was just beginning!
The fact that I have written some reviews has led me to a new finding. I have realised that there is a certain scheme. I like the furious first works of many extreme bands - and I do not like their more or less irritating outputs after a drastic change. Yet the albums I like most of these bands are sometimes those at the interface of their old and their new style. Celtic Frost's "To Mega Therion" is simply a milestone, Ancient Rites' "Fatherland" must be mentioned in this context as well and maybe even Bathory's "Under the Sign of the Black Mark". (Okay, with regard to Quorthon, I should rather mention "Blood Fire Death", because it combined black metal and Viking sounds on an equal footing. But who cares about such details?) "Killing Technology" is also one of these transition albums and, from my point of view, it presents the climax of Voivod's discography (although the anarchic debut is fascinating as well). Let me tell you why.
The production of Harris Johns does not score with a very heavy configuration, but it puts the focus on an individual sound. The album has a mid-heavy, sometimes minimally computerized appearance and it spreads a solid amount of punk vibes, although the metallic elements prevail. Nevertheless, this is not a heavyweight, earthy sound. The airy yet enthralling mix leaves room to breath while having a somehow futuristic touch. Yet this does not mean that Voivod slacken the reins, no way! The album goes the next logical step after the apocalyptic debut and the still very sinister and thunderous second album. Now the Canadians feel free to break the chains of their pretty narrow-minded concept and to demonstrate their technical abilities and combine sharp leads with many amazing breaks and surprising twists and turns. The songs are cleverly designed, they channel the energy of the compositions and let it out whenever the time is right.
Voivod do not strive for extraordinary song patterns. The more or less complex structures seem to be the result of a natural process. The songs have a good flow, because their single parts are built upon each other in a logical manner. This does not mean that smoothness prevails. Bulky riffs were not sorted out. "Forgotten in Space" holds some of them and even the actually straightforward "Tornado" surprises with a petulant part. It's amazing: on the one hand, the songs do not lack of accessibility. On the other hand, Voivod do not want to make it too easy for the audience. There exists still this rebellious element which seems to be firmly embedded in the DNA of the group. Thus, the band does not fraternize with its fans. I would rather speak of a challenging relationship for both sides. Yet I actually wanted to praise the riffs. In short, all of them are excellent. The entire guitar work of Piggy (R.I.P.) reflects the enthusiasm and the ingenuity of the four-piece. So many good ideas shape the songs that "Killing Technology" belongs to the rare full-lengths which do not have a clearly identifiable highlight. Indeed, the opening title track blows the listener away, but the following tunes are no less exciting. Whenever I listen to the album, I have another favourite. Seven songs, seven hits. Nevertheless, "Order of the Blackguards" might be the scout which leads interested groups to the entire album by the fastest means. It represents the straightest track, compact and intensive. Its impressive vehemence is inter alia based on the permanently gnawing bass of Blacky, although guitar and vocals are naturally of high importance as well. The song finally culminates in a speed part where Snake shouts its title again and again. I promise that this piece will have an infectious effect on Voivod rookies.
Incidentally, Snake walks a fine line, too. He does not really sing, but his shouts are free from dirt and more variable than before. A few robot-like samples round off the picture. All in all, his vocals sound less furious but more expressive than before and the voice lends the pieces even more individuality - and this term constitutes another keyword for the description of the album. Maybe I should ask an expert, but right now I do not know any comparable album. The mix of technical yet speedy rhythms with some noisy, defiant punk tendencies and a futuristic, ominous scenario has remained unique. It is therefore a great pleasure that the album will be rereleased at the end of April. Nonetheless, this review is about the original vinyl from the year 1987, because any kind of "bonus" endangers the pure brilliance of the original edition of "Killing Technology". And this, my highly appreciated Voivod maniacs, is not a new, but an important finding.
Voivod is one of many bands that underwent many drastic changes throughout their career, and one of few that had never received any flak for it. Starting off as a thrash metal band, they got more and more complex as they soldiered on throughout the years until, finally, their thrash roots were left behind in favor of a more progressive sound. One of the albums that is part of this transition is "Killing Technology", which still has some of the band's thrash elements, but also gives us a glimpse of what the band will do in the future.
The factors that determine that "Killing Technology" is not only a thrash metal album, but also one of the greatest, are obviously present. The fact that there are one to two different tempos in a few songs remain, and "Order of the Black Guards" is just one of the many songs that proves it. Unlike "Thrashing Rage" from the previous, "Rrrroooaaarrr" album, however, one of those time signatures in each of those songs aren't shoved at the very tail-end of them. In "Forgotten in Space", the time signatures change with the chorus, something that Voivod had never done before, but they will do a lot in the future. There is also the fact that the lengths of some of the songs are getting longer, the title track being more then seven minutes long, whereas songs from the previous albums don't really get past five.
Also a factor of change on this album is the fact that Snake's vocals are getting smoother. They're still gruff and aggressive, like on the previous albums, and you hear that a lot I "Ravenous Medicine", but you can also hear his smoother tone of voice as well. It can especially be heard in "Tornado", where he sings each verse in this voice. In my personal opinion, this album contains a healthy balance between the two voices, as any album before or since seem to use either one more than anything else. The band also seems to be branching out in terms of lyrical themes. Their previous releases usually consisted of songs relating to death, destruction, and horror, three cliches commonly associated with thrash metal. On "Killing Technology", though, Voivod decided to think outside the box a little bit and write songs relating to science fiction. The title track, and obviously "Forgotten in Space", are clear examples. "Tornado" is also noteworthy, for it's about, well, a tornado. It even gives a rather accurate description of how the titular tornado works!
Of course "Killing Technology" has all of the trademarks of Voivod, like the bizarre chord patterns and complex time signatures, but they are more played out than anything released before. The standard power chords used in songs made prior to this album are almost non-existent, for Piggy gearing his guitar sound more towards using more complicated chord patterns, like diminished and arppegiated chords. These chords make impressive, if not unusual, licks that take up the entirety of each song, thus diminishing the likelihood of Voivod being labeled as a run-of-the-mill thrash metal band. Voivod is known for having many different time signatures in their songs, but that doesn't mean they can't be fast. After all, they were still a thrash metal band at the time they released this album! "Tornado" consists of a super-fast tempo that many, if not all, thrash metal bands use to convey aggression and destruction. In Voivod's case, the tempo could be used to convey the sheer power a tornado could unleash.
I know this is kind of off-topic, but I seriously believe that the band's album artworks could be indicators of the bands ever-evolving musical style. The covers of their first two albums, "War and Pain" and "Rrroooaaarrr", depict a soldier and a war machine respectively. You could expect either of those things that appear on those album covers to appear on covers from any other thrash metal band, but the cover of "Killing Technology" is far different. It depicts what appears to be an alien at the controls of a spaceship, which at the time of its release, was quite uncommon. It's a clear indicator of the music you're about to hear when listening to it. It's also interesting to note that as the band changed its musical style, the covers to every subsequent album got more and more surreal. The proof is in the covers of "Killing Technology" onwards.
Let's face it, every band changes their sound to some extent (except AC/DC and Motorhead), but no band has ever gone a more dramatic transformation than Voivod. One of the very first signs of this is in this album, "Killing Technology". It has a lot of the things we love about thrash metal, but it's also a hint of what's yet to come. Upon the release of this album, Voivod had officially begun their first phase of their journey into outer space with their weird and wonderful music. All systems go!
What was the greatest thrash album released in 1987? Many would point to Among the Living, Persecution Mania, Terrible Certainty, or even Schizophrenia. I would respectfully disagree and point to a different album. That different album would be Killing Technology, Voivod's best album. This took what was good from their previous albums and some of the newer stuff they were cooking up and created a masterpiece. This has some of it all: great riffs, unique and expressive vocals, noteworthy atmosphere, and great songwriting.
Many reviewers have commented on the riffing, and it is excellent. When they need to be fast, they drive very well, and when they need to create a mood, they can go places most bands would need a textbook for. Interestingly enough, it's less the technical acumen of the playing and more the quirkiness. I imagine a reasonable thrash player from this time could cover a Voivod song after a little practice, but they probably couldn't write a similar song without copying. This album and the playing on it is more to the progressive side of tech thrash. It's an excellent breath of fresh air, as it really is unlike almost any other thrash band, Vektor was influenced by them and their are a few sonic similarities.
Moving on to the vocals, he has a rather punky voice. If you could remove the nasal from Mustaine, I think you would get pretty close to this. He also shares what I would consider Mustaine's only vocal strength: conviction. He sounds like he believes and feels everything he is singing about. Even when he sounds cold, it feels more like a sense of irony than detachment. This doesn't make him a great or even good vocalist, but I feel he fits the music, and I really haven't heard many who sound like him.
This is also one of the first very Sci-Fi metal albums. Many bands had of course used this for lyrical fodder, but I haven't heard any older bands utilize it to the same extent Voivod did. They wrote lengthy, yet very catchy and enjoyable songs about aspects related to outer space with covers that look like something from the Ed, Edd and Eddy cartoon's alien comics.. They also took a relative weakness of their previous albums, production, and turned it into an excellent dystopian atmosphere. Much of what makes this transition so excellent is their ability to take their previous aggression and merge it with their new prog sensibilities and weave songs of a higher quality.
This is as good as Voivod ever got. Hartross was excellent as well, but the quirkiness was starting to descend into stoned weirdness and a kind of neutered weakness by Nothingface. The previous albums were simply too generic, as they sound more like some garage band than what produced this. I wouldn't recommend this to everybody, but if you're fine with longer songs, you should love this. The bonus tracks from the Cockroaches EP aren't essential, but they are on a par in quality, so I would recommend them none the less.
When it comes to the fast-paced and volatile world of thrash metal, few bands have been as inventive and groundbreaking as Canada's Voivod. Also one of my favourite metal bands, it is rather remarkable to hear them go from the relatively primitive speed metal of their early records to the more dissonant and experimental thrash of what I consider to be their best albums. Their biggest transition album would be their third record, 'Killing Technology'. Although it is much less refined than the following masterpieces 'Dimension Hatross' and 'Nothingface', it sets the stage for them by presenting Voivod's exciting refurbished style, and progressive tendencies. Although the first two albums were charming enough, 'Killing Technology' is where the Voivod I love really came alive.
Hot on the heels of the band's second record 'Rrröööaaarrr', 'Killing Technology' is most notable for being the first record where Voivod decides to adopt a progressive metal sound into the thrash formula; something that was even more rare back then, than it is today. Although the fairly raw bite of the early Voivod is largely left intact, 'Killing Technology' features more complex and intricate compositions, as well as a more adventurous style of musicianship than before. Most notable and progressive in the way that Voivod plays is the excellent and startling guitar work of Denis 'Piggy' L'Amour, who remains one of my favourite rhythm guitar players ever. Heard here, he has a very unique style of riffage that relies mostly on strange chords and frantic switches that sound as if they could be rooted in space rock. As with every notable Voivod album, Piggy's guitar work remains the centerpiece of the music.
Looking back on Voivod's career, it does feel as if the follow-up 'Dimension Hatross' overpowers 'Killing Technology' in virtually all respects, taking the paranoid prog thrash sound to the level of mastery, The work here is fantastic all the same however; staying fast and energetic throughout most of the record, but throwing in surprises that keep the music interesting. Although it is usually up to Piggy (especially on this album) to make the band's sound unique, the other musicians flesh out Voivod's sound very well. Michel Langevin's drumwork here stands out, often going beyond merely keeping time and giving some killer fills to the songs. Denis Belanger's vocal work here is much less melodic than it would be in the band's future, instead revolving around a much more thrash-oriented style of screams and howls, which can get monotonous at times when compared to the much more dynamic melodic style of Belanger, but stays on par with the energy of the band. Unfortunately, Jean- Yves Thierault's bass playing isn't nearly as audible as it would be on the next two records, but it still manages to keep the rhythm section going while Piggy solos.
While not nearly as impressive as some of the material Voivod would release in the few years after this, 'Killing Technology' is an essential album in the band's development, really taking both them and the thrash metal sound to new heights that had not been yet heard before. Things still sound a bit raw and light on memorable songwriting to call 'Killing Technology' one of the best Voivod albums, but it remains a great album for the band and genre.
This album has been a really big step forward for Voivod. It is more unique, diversified and elaborated in regard to the technical and especially lyrical quality than the first two albums. Voivod present a really cutting-edge and straight thrash metal album which has the heaviness of the earlier works and already the inspiration of the future albums.
"Killing technology" is a very dark, cold, technical and spacey post-industrial killer opener which has no lengths in its seven entirely brilliant minutes and one of the most underrated songs of the group. "Overreaction" and "Tornado" develop a very heavy and tension filled atmosphere and are two of the bands absolute hymns which are still regularly played live today even if the two songs maybe sound a little bit too similar. You can discover progressive tendencies for the first time on the courageous and very interesting "Forgotten in space". The dark "Ravenous medicine" has an interesting lyrical intention by touching the topic of animal slaughter and pharmaceutical experiences with those poor creatures which are shown in the somehow cheesy cult video clip. "Order of the blackguards" perfectly combines thrash metal with the science-fiction space topic and surprises with a very eerie and spacey style of singer Snake. "This is not an exercise" has many interesting breaks plus a very tight drum play and grows more and more on me, it is somehow the inside tip of the album.
The two additional songs on the more recent editions of the album are from the "Cockroaches EP" and fit perfectly to the style of the rest of the album but are not as strong as the album highlights "Killing technology", "Tornado" or "Forgotten in space" and are just two nice gimmicks and fillers for the new editions.
All in all, this album is one of the best thrash metal albums of the decade and combines the heaviness and straightness of the bands earlier works and the creativity of their later progressive style on a couple of songs. The only weak point of this album is the fact that some songs sound too similar and that the bands repeats itself a little bit too much on this album and experiences less.
When it comes to classic metal bands that have innovated the way others approach the genre, Voivod is one that cannot be ignored. After two albums of blistering, slightly absurd, Venom-esque metal, Voivod stepped their game up for "Killing Technology" and once again stood out from the crowd. Remember, during 87, bands were getting more and more brutal and death metal was already an identifiable entity from thrash. Voivod took an entirely different route, combining their original metal influences with hardcore punk, discordant chords, and progressive song structures. Expand on their already desolate lyrical themes with more focus on futuristic ideas, you've got yourself a classic album that anyone into metal, punk, and hardcore can find common ground with.
The album starts off with some chords over some tom work, and then bursts into a real punky rhythm and some chords that have become analogous to Voivod. The song seems somewhat straight forward to begin with, rotating around a couple different ideas, with the varied rhythmic and picking patterns really standing out. However, much like the mid 70's Sabbath albums, the song goes into some other area, and thus the true brilliantness of Voivod is seen. They do a great job at creating songs with different movements, and manage to tie it all together by the time the song is over. You can see this throughout the album, but done in a variety of ways.
"Killing Technology" just has so many memorable songs and well developed riffs/themes within. Piggy's guitar playing has always constantly evolved while still incorporating his bluesy vibrato in his lead work. As I mentioned, he uses some pretty odd chords. He makes use of tritones, inverted fourths, as well ones whose names I'm not so familiar with. Blacky's bass playing has a really nice buzz to it, and pounds alongside Piggy and the solid punk-infused drumming of Away. Snake's vocals are intense, expressive, and full of character. He adds that much more colour and uniqueness to the Voivod sound.
As I mentioned, the lyrics here have some futuristic themes with their already violent themed lyrics. Songs about a tornado's path of destruction, technological invasion, and becoming lost in space give you an idea of how the band creates lyrics that paint a pretty horrifying picture. Seriously, what's more terrifying than becoming a medical experimentation as they feed you the ravenous medicine? Fans of Stanley Kubrick's films will appreciate the themes presented here.
This is an album that's stood the test of time for over 20 years now, and it's no wonder that these French Canadians have made such a name for themselves, and paved the way for many other great bands from Canada. You can hear traces of this record's influence in bands like Martyr, Cryptopsy, and Gorguts, as well as plenty of other more technically inclined metal bands from around the globe. This album is worthy of shelf space in your collection – if not just for Away's artwork alone.
'War and Pain' and 'Rrröööaaarrr' may have firmly erected the foundations of Voivod's hostile thrashing punk sci-fi wasteland, but it was Killing Technology that truly put the band on the map. Armed with a legendary Harris Johns mix and a slew of frightening and alien riffs (for its era), this is the first true masterpiece from Canada's greatest band. Though I'd give the edge to 'Dimension Hatross' as my all time favorite, few metal albums over the decades have been able to match the vision and originality of this classic.
Who could forget the rumbling ambience and the robotic voice which herald the title track? WE ARE CONNECTED. Followed by one of the freakiest metal riffs I have ever heard and Snake's signature punkish, almost conversational vocals, the lyrics create a pastiche of paranoid dystopian futurism. "Overreaction" takes off with the groove of intense punk bass smothered in Piggy's unique chord selections. We're not in fucking Kansas anymore. "Tornado" begins with subtle distorted chugging, a percussion swell and then a panic inducing barrage of chords. "Too Scared to Scream" wonderfully sums up the feelings I once felt about this album...as a 12 year old I could barely believe what I was hearing. An album that challenged all thrash/speed metal conventions of its day with its unmitigated forward thinking dorkery, yet remained truly dark in nature. "Forgotten in Space" creates a descending extraorbital nightmare which truly suits the claustrophobic environment of its prison ship subjects. "Ravenous Medicine" is not only one of the best song titles ever, it was one of the more famous songs on the album. Who could forget the video? Snake's vocals rule on this track. "Order of the Blackguards" is anchored by its quick and groovy thrashing and eruption of glorious chords. "This is Not an Exercise" is pissed off post-industrial thrash metal fury.
The CD version contains two extra tracks from the "Cockroaches" EP. "Too Scared to Scream" and "Cockroaches" fit the tone of the album perfectly, the latter in particular is extremely enjoyable. The mix of the album is perfect to capture a grimy dystopic edge. These are the sounds of rusted guitar strings in an apocalyptic wasteland. Trash can drums and ripped leather punks in gasmasks. In fact, the album almost perfectly mirrors the early 80s cyberpunk explosion in science fiction circles, its metal equivalent. The musicianship is impressive, as I mentioned before there is simply noone who played guitar like Piggy did. Blacky's filthy, distorted bass was another of the joys of these earlier albums.
Voivod is a band with many killer albums, in terms of overall output I'd consider them a candidate for the best metal band in history. Though I have a fondness for their very early material and its rough and tumble style, this third album is where the magic really started. The vision conjured here would be further honed into the perfection of 'Dimension Hatross', and later taken to progressive extremes as the band shifted focus from its heavier edge to a more melodic tone, and then cycled back around again.
Unless you're a poseur who has been living under a rock all these years, you already know these things. If somehow you do not, acquire this and the rest of their albums, then educate yourself in one of the most enduring and original dialects in the metal cosmos.
The title of this review is tongue waaaay in cheek, as I respect UltraBoris' opinions most of the time. But when it comes to this album, whoa, waitafuckinminnit, my friend! What were you smoking when you listened to it, so I can avoid it in the future?
I fondly remember getting this album in 1986 (still have it on vinyl!) and being utterly blown away. Why? Because, after two raw, primitive Motorhead/Discharge-influenced efforts that were good but not great to me at the time, this was the album that made me take Voi Vod seriously and understand where they were coming from as a band with their concept. OK, the production is a bit thin, but it is better and cleaner than before, and everyone just got a huge charge of energy on this album, as well as the increased musical ability that comes from constant touring.
Piggy's guitar sound and style are unique to him and him alone, and on this album he scrapes, squeals, scratches, and riffs his way to manic godhead. His fills and soloing have lots of character as well, unpredictable and full of left turns. Blacky and Away, oh my gawd...those guys owned this album. Epecially on the furious "Overreaction" and "Ravenous Medicine" (the video for the latter tune is awesome as well--try to find the Noise Records "Doomsday News" video compilation to see it), they roar along like a diesel engine from hell, unstoppable in their energetic assault. The arrangements on this album are fabulous as well; complex, flowing, jagged, wildly unpredictable (to use that word again, as it is accurate), full of vigor and crazed lyrical excursions courtesy of Denis "Snake" Belanger. Snake is the voice of Voi Vod, no two ways about it. Eric Forrest was good, but Snake is his own man and voice altogether. Without him, Voi Vod was not the same, and I'm glad he's back at the helm.
This whole album rocked my world back then and still does to this day. Sorry, UltraBoris, but I disagree wholeheartedly with your assessment of this album as crap. It's too near and dear to my heart to think otherwise.


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subset: commoncrawl


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3rd International Conference on Academic Research in Social Sciences and Humanities (ARSSH-2019)
Abstract Submission Date: August 10, 2019
Important Date
- Abstract Submission Date: August 10, 2019
- Full Paper Submission Date: August 15, 2019
- Conference Dates: August 24-25, 2019
- Conference Venue: Kuntai Hotel Beijing China, Beijing, China.
The 3rd international conference on "Academic Research in Social Sciences and Humanities". This forum is established to discuss the issues of multidisciplinary field collaboration with business and economics emerging trends. We invite the scholars /scientists / engineers/ researchers / practitioners / students to join with us and share the new innovative trends in their respective field. This common platform is expected to provide the bases for joint venture among different fields to serve the society in a better way.
To learn more: CLICK HERE


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Install the WordSolver Android App!
1 Definition of Biked
The definition of biked, the meaning of the word Biked:
Is biked a scrabble word? Yes!
- v. - Ride a bicycle
Biked is worth 12 points in Scrabble, and 13 points in Words with Friends
There are 5 letters in biked: B D E I K
Words that can be created with an extra letter added to biked:
16 words found using the letters in "Biked"
4 Letter Words
3 Letter Words
2 Letter Words


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IUEENLY Brazilian Curly Hair with Closure Free Part Brazilian Virgin Curly Weave Human Hair 3 Bundles With Closure Natural Color(14 14 14+12) Description
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Ashley Eil
2017-2018 Volunteer of the Year
Junior League of Portland
Ashley Eil is a Southern transplant originally from North Carolina who currently resides in Portland, Oregon with her husband, three-year-old son, one-year-old daughter, and miniature schnauzer. When not serving the many roles of project manager, wonder woman, master Jedi, financial planner, and gourmet chef at home, Ashley navigates the delicate balance between work and family as a very active volunteer with the Junior League of Portland. Ashley is passionate about making change in the community through volunteerism and has served in a variety of roles. She loves traveling and charming people with her Southern accent no matter where she goes. After her children are old enough to make their own sandwiches, she plans to further a career in non-profit serving areas of the community most under-represented. In the meantime, she will hone her ninja skills when she relocates with her family to NYC this summer. Ashley has a B.A. in Communications from the University of North Carolina at Chapel Hill.
A physical, emotional, and sexual abuse survivor, associated with her difficult childhood, Ashley hopes to serve as a source of inspiration, and provide useful insight on the adverse effects of poverty by sharing her story. She is an example of how that adversity can be used as a source for positive change. She hopes that her experiences will help guide others to understand the power of relationship to help change the course of a life.


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Beulah Beacon News
City tightens rules for peddler's permits
City officials were recently frustrated by a security company which installed alarm systems that made calls through local law enforcement without getting the OK first.
County agrees to help at Lake Shore Estates
On his very first day back on the job, Mercer County Commissioner Gary Murray had an audience.
Coyote Station enters into NACC agreement
Dakota Westmoreland has four more years as coal supplier to Coyote Station before it will be replaced by The North American Coal Corporation. The decision was made public recently through a press release from Coyote Station owners Otter Tail Power Company, Montana-Dakota Utilities Co., NorthWestern Energy, and Northern Municipal Power Agency.
West Main Street revitalization underway
The west end of the business portion on Main Street in Beulah will start to look different very soon, now that the Country Kettle has begun settling into the old Pizza Ranch building. Renovations of that structure and demolition of its old home next to Bronson's Super Valu will add a new face to Main Street.
Who's up for election?
Contenders for city and county seats have all got their petitions in and the races are starting to take off across Mercer and Dunn counties
Community loses a leader
Myra Axtman just might have been the least-recognized community leader and influence in recent Hazen history.
Murray appointed to vacant MCC seat
Mercer County found its third commissioner during a Friday morning meeting at the County Courthouse in Stanton.
MC Commission Candidate Klein
On Monday, more than 5,000 Vote By Mail ballot applications were mailed to Mercer County voters. On those ballots will be seven candidates vying for one seat on the Mercer County Commission.
Joint meeting held to discuss further housing development
Officials have been trying to figure out how to address housing issues in Beulah for some time and last week the City Council and city planning and zoning board got together to figure out how to move forward. Mayor Darrell Bjerke opened the meeting with an introduction of why the meeting had been called.
Mercer County Commission candidates: Scheurer and Berger
With the April 13 filing deadline gone, seven Mercer County residents have filed petitions to be placed on the Primary Election ballot for one seat on the Mercer County Commission. Of those seven candidates, two will advance to the General Election ballot in November.


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Minor collision cleared on Donegal road
Back of Errigal road described as 'passable with care'.
The back of Errigal road, the R251, has been cleared after a minor road traffic collision this morning.
Gardaí said the collision resulted in material damage but no injuries. No further information was currently available.
Gardaí describe the road as passable with care.
In a report this morning, AA Roadwatch reported icy conditions on the R251, which runs from Termon along the back of Errigal.


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Elephants are specifically mentioned by Plato as being indigenous to Atlantis. This must have significance for anyone trying to arrive at a credible location for Atlantis. For example, supporters of the Theran Atlantis School cannot show where such large animals could have lived on the small volcanic island. There are no physical remains, no frescos and no historical references. Rodney Castleden who supports the Minoan Hypothesis admits that "no raw elephant ivory has been found (on Thera) and very little in the way of worked ivory"[225.70]. He later speaks of the importation of ivory into Crete[p.172] having bravely denounced Plato's description (Critias 115a) of herds of elephants on Atlantis as "false"[p.136].
Similarly, Spanuth's Heligoland location would have been climatically unsuited to elephants. Spanuth himself admits that the elephant reference "is hard to explain". Nevertheless, Felice Vinci who champions a Northern European origin for Greek mythology is of the opinion that Plato's elephant reference may be a lingering memory of the woolly mammoths that inhabited Arctic regions as recently as 1700 BC. In the late 17th century Olof Rudbeck, recognising the problem that Plato's reference to elephants presented for his Swedish Atlantis, argued that Plato had been speaking figuratively when describing the large voracious animals and had in fact been referring to wolves, the Swedish word for wolf being 'ulf', which sounds like the beginning of 'elephant'!!
Elephants in Western Europe were undoubtedly represented by mammoths, remains of which have been recovered from the North Sea – Doggerland and dated to around 40,000 years ago. Coincidentally, a tool made of mammoth bone, used for making rope, has also been dated to 40,000 years ago(i)(n). This discovery (s) by Nicholas Conard from the University of Tubingen was made shortly before Ashley Cowie published his interesting book[1454] on the history of rope-making. Further information on string, ropes and knots was published in March 2017(o).
Allied to the demise of the Siberian mammoths is the often repeated fib that when the remains were first discovered, their flesh was still fresh enough to eat, has recently been debunked by Jason Colavito(j). He has also unearthed the truth behind that other canard relating to a Siberian mammoth, namely that fresh buttercups were found in its mouth(j). He has now(q) traced back the earliest reference to the frozen mammoths to George Cuvier in 1822 [1586.11].
Eckart Kahlhofer, in a forthcoming book[715] advocates a North-West European location for Atlantis, suggests that where Plato referred to elephants he really meant deer! Kahlhofer offers, as a simple explanation for this seemingly daft contention, the fact that the Greek for elephant, elephas, is very similar to the Greek elaphos which means deer. A simple transcription error by a scribe could have caused the mix-up. The elk was the largest species of deer to be found in the northern hemisphere and are still to be found in Scandinavia. The Great Irish Deer which died out around 5500 BC had an antler span of 11ft and a maximum height of 10ft.
Gene Matlock in an attempt to bolster his Mexican location for Atlantis has suggested that Plato's elephants were in fact the long-snouted tapirs of Meso-America!(c), an idea 'borrowed' from Hyde Clarke
While the elephant issue should not be dealt with in isolation it does serve to illustrate the difficulties involved in analysing Plato's text. Consider the possibility that the early date of 9600 BC for Atlantis is accepted, then the islands that are too small today to accommodate elephants may have been considerably larger and sometimes connected to each other or a mainland during the Ice Age, when sea levels were lower, and consequently capable of supporting pachyderms. In this regard, Sundaland would have been a most suitable candidate. Not only would to-day's South China Sea's archipelagos been a single landmass, but there would have been access to the area from the Asian mainland, home today to large numbers of elephants.
Strangely enough even the Andes, considered by some as the home of Atlantis, reveal the fact that during the last Ice Age a species of elephant called Cuvieronius lived there but became extinct around 8000 BC. These animals are to be found carved on the great Gateway of the Sun in Tiahuanaco suggesting that they were common in the region. Supporters of an Atlantis link with Tiahuanaco have highlighted this fact.
James Bailey who supports[149][150] the idea of Atlantis in America believes that Plato's mention of elephants could be a reference to the American mammoth, generally believed to have died out circa 10,000 BC, although Victor von Hagen, the American explorer, contentiously maintained that they survived as late 2000 BC. A similar idea was presented to the 2005 Atlantis Conference by American researcher, Monique Petersen.
The Schoppes, in support of their theory of Atlantis in the Black Sea region, contend(l) that Indian elephants existed there until 800 BC and support this with a reference to the Egyptian pharaoh Thutmosis III who killed 120 elephants 'there' around 1200 BC, which is a strange claim as Thutmosis did not venture beyond Syria and he died circa 1426 BC!
Elephas Antiquus (Palaeoloxodon), is a dwarf species whose remains have been found throughout the islands of the Mediterranean from Sardinia to Cyprus. All those found were dated 200,000 BC or earlier! In sharp contrast, Simon Davis, in an article in New Scientist (3 Jan.1985), dated Mediterranean dwarf elephants to as recent as 6000 BC(p). A number of writers, such as Roger Coghill, have tried to use the pygmy elephant as an explanation for Plato's text (Crit. 114e & 115a) where we find that he describes the elephants as being 'of its nature the largest and most voracious'. This is not a description of pygmy elephants.
However, Ghar Hasan or Hasan's Cave in southeast Malta has paleolithic cave paintings that depict elephants, indicating more recent contact with the animals. Whether these represented full-sized or the pygmy variety is unclear. A small booklet[214] by Dr. Anton Mifsud and Dr. Charles Savona-Ventura describes this cave system.
In Dossier Malta – Neanderthal [1587] Mifsud has drawn attention to another cavern, not far away, formerly known as Ghar Dulam, now Ghar Dalam, where thousands of dwarf elephant bones were discovered. Dulam means 'small elephant' in Arabic. This is one of the mainstays of his 'Atlantis in Malta' theory. Whether these diminutive creatures justify Plato's description that they were the "largest and most voracious" of animals (Crit.115a) is clearly debatable. For me this is not a description of pygmy elephants and so in all probability is an indication of a North African location or, as some claim, an Asian one!
The Atlanteans had control in Europe as far as Tyrrhenia and Egypt, which would have included what is now modern Tunisia, the home of the last recorded wild elephants in that region!
Readers should be aware that there is general acceptance that the North African Elephant inhabited the Atlas Mountains until they became extinct in Roman times(e)(h). In fact the New Scientist magazine of 7th February 1985(d) outlined the evidence that Tunisia had native elephants until at least the end of the Roman Empire.
In Elephant Destiny[1301] Martin Meredith records that one of the earliest references to the African elephant came from Hanno, the 5th century BC Carthaginian explorer, who related how he came across marshes at the foot of the Atlas Mountains, which "were haunted by elephants and multitudes of other grazing beasts." Meredith also mentions that stables for as many as 300 elephants were to be found within the city of Carthage itself.
Nevertheless, the species of elephant used by Hannibal has been a source of debate for years(f). The Numidians of North Africa (202 BC–46 BC) also used local elephants in warfare(g). It would seem to me that the North African Elephant, rather than the Asian or African species, would have been more suited to the trek across the Alps. Needless to say, the Atlas Mountains were part of the Atlantean sphere of control (Timaeus 25a-b) and so may be the reason that Plato mentioned them.*It is also reported that during the reign of the Ptolemies in Egypt (323 BC-30 BC), they imported war elephants from Eritrea in East Africa(r). *
The latter half of 2010 saw a new piece of nonsense hit the blogosophere when a claim that the Atlanteans had flying machines made of elephant skins suddenly appeared and before you could say "cut and paste" it was 'adopted' by a variety of websites(a)(b). So Dumbo was not the first flying elephant! In fact this daft idea was just a recycling of one of Edgar Cayce's 'revelations' (Reading 364-6)(m).
(a) http://www.articledashboard.com/Article/Speaking-of-Atlantis/1872335 (Offline October 2017)
(b) http://www.saching.com/Articles/Historical-Proof-of-Atlantis-2888.html
(c) http://viewzone.com/atlantis22.html
(d) https://books.google.co.uk/books?id=yoa0FqP-rWUC&pg=PA39&lpg=PA39&dq=elephants+in+Tunisia&source=bl&ots=t-VBIs13N4&sig=4WMoiqmnEfbmL4eZlvTbK9NWrRQ&hl=en&sa=X&ei=ZWzqVL3aNeLY7AbtuYHQAQ&ved=0CCAQ6AEwADgK#v=onepage&q=elephants%20in%20Tunisia&f=false
(e) http://interesting-africa-facts.com/Africa-Landforms/Atlas-Mountains-Facts.html
(f) http://www.nytimes.com/1984/09/18/science/the-mystery-of-hannibal-s-elephants.html
(g) http://nabataea.net/elephants.html
(h) http://www.moroccoworldnews.com/2014/08/137456/5-animals-that-once-roamed-morocco-but-no-longer-exist/
(i) http://www.seeker.com/how-rope-was-made-40000-years-ago-1943454415.html
(j) http://www.jasoncolavito.com/blog/dining-on-frozen-mammoth-steaks-the-evolution-of-a-strange-rumor
(k) http://www.jasoncolavito.com/blog/flash-frozen-mammoths-and-their-buttercups-yet-another-case-of-repetition-and-recycling-of-bad-data
(l) http://www.black-sea-atlantis.com/black-sea-atlantis/
(m) http://phantho.de/files/html/reading__364-6.htm
(n) http://www.q-mag.org/40000-years-of-rope-making.html
(o) https://www.hakaimagazine.com/features/the-long-knotty-world-spanning-story-of-string/
(p) https://books.google.ie/books?id=Bjd6S9fEDE4C&pg=PA25&lpg=PA25&dq=%22simon+davis%22+pygmy+elephants&source=bl&ots=BReKfMY2gS&sig=AWTfZYjRx55PVqzUIRLk-hrzmPo&hl=en&sa=X&ved=0ahUKEwi-96Oak-naAhWRON8KHYTKCEgQ6AEITzAL#v=onepage&q=%22simon%20davis%22%20pygmy%20elephants&f=false
(q) http://www.jasoncolavito.com/blog/the-claim-of-flash-frozen-mammoths-is-older-than-i-thought
(r) https://www.livescience.com/64407-ancient-egypt-fortress-war-elephants.html
*(s) https://www.seeker.com/how-rope-was-made-40000-years-ago-1943454415.html*
Zajdler, Ludwik
Ludwik Zajdler (1905-1985) was a Polish astronomer who published Atlantyda in Warsaw in 1963. In 1966 it was translated into Russian by leading atlantologist Nicolai Zhirov. It is widely quoted on the Internet that the 3rd Polish 1972 edition had a print run of 30,000 copies, which is unbelievably spectacular. However, this report goes on to claim that this number equals the total number of all books on Atlantis published in the USA and UK during the previous twenty years, which also seems questionable.
Zajdler divided his book into three sections, Atlantis in myth, Atlantis in history and the date and cause of its destruction. The author believed that there was evidence of a collision between the Earth and Halley's Comet in 9570 BC and that this caused a 30° alteration to the axis of the earth resulting in the sudden freezing of the Siberian mammoths.
Zhirov noted[458.378] Zajdler had identified some remarkable similarities between the ancient Egyptian and Mayan calendars, which led him to conclude that they had to have a common origin that he assumed to have been Atlantis.
Zajdler also had a fascination with sundials and timekeeping, which led to him write Dzieje zegara (The History of the Clock).
Petersen, Monique
Monique Petersen is an American researcher who addressed the 2005 Atlantis Conference promoting her view that America was Atlantis. She accepts the 9600 BC date for its demise as correct and identifies the elephants referred to by Plato as the Columbian Mammoth that roamed North America at that time.
James Bailey held similar views regarding the American mammoth being the reality behind Plato's reference to elephants. However, Bailey considered Peru as the most likely location of Atlantis
Allan & Delair
Derek S. Allan(1917-) & J. Bernard Delair(1932-) are two British scientists who authored Cataclysm: Compelling Evidence of a Catastrophic World Change, 9,500 BC[014], which discusses a global catastrophe that affected the planet during the 10th millennium BC. They have built upon and refined the catastrophist theories of Velikovsky[037][038]. Drawing on the details of worldwide myths and recent scientific research they have developed a plausible argument for believing that the Earth was violently impacted upon by an extraterrestrial event over eleven thousand years ago. Their contention is that ejecta, of varying sizes, from a supernova in the nearby Vela constellation, entered our solar system resulting in devastation on a planetary scale. The Earth did not escape and the destruction visited on our world is the sobering subject of this book. In 1977, George Michanowsky also referred[282] to the Vela supernova but dated it to 4000 BC and considered its effects to be more visual than physical. Neither Michanowsky nor his book were referred to by Allan & Delair.
The authors boldly challenge accepted Ice Age theory, denying that the usual evidence of glacial damage is correct, as such striations are found in areas that did not have to endure an ice age! This book will no doubt require revision, as our understanding of the past develops, but for the present it offers an insight into the incredible disasters that could have wiped out our ancestors. Delair wryly commented that evolution may not be just the survival of the fittest but also the survival of the luckiest.
Allan & Delair have used scientific evidence to indicate that 9500 BC was the approximate date for their proposed cataclysm. Commenting on the destruction of Atlantis they state that "we found Plato's account of the loss of the legendary continent of Atlantis (the empire of Atlas) to be one recollection of the occurrence of radical worldwide topographical changes some 11,500 years ago initiated by powerful and violent celestial agents" [014.225]. The coincidence of this date with the date apparently related to Solon, has been seized upon by the more fundamentalist Atlantologists, who insist that Plato's early date for the destruction of Atlantis is, euphemistically speaking, written in stone.
The authors range over the entire spectrum of catastrophist elements, such as the Deluge, extraterrestrial encounters, bone caves, frozen mammoths and pole shift. Inevitably, they were forced to engage in some speculation, but, if nothing else, this valuable work throws some light on a dark and terrifying period in our planet's history.
Maurice A. Williams, who has written on a number of scientific and religious subjects has offered a very positive review(a) of Cataclysm describing it as a 'must-read' book. While I concur, I would urge caution.


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The Fangirly Diary of a Geek Girl: The most human
Leonard Nimoy, an icon of sci-fiction and geeks alike, passed away a long battle with chronic obstructive pulmonary disease. And after the shock of the first news, friends, colleages and fans everwhere joined in mourning and tribute. Mr. Nimoy, as the Vulcan saying goes, lived long and prospered and will be missed by all of us.
His last tweet was haunting and beautiful:
A life is like a garden. Perfect moments can be had, but not preserved, except in memory. LLAP
Seems that Jason Momoa was as shocked as us when we got the Aquaman poster. Apparently it would have been reveal for next year! But yeah, Zack Snyder is an impatient bastard~
That was a shocker for sure. It was supposed to be a surprise in 2016, so it definitely helps [our show]. I've been holding that secret for a long time. Zack Snyder called me up and said, "I'm posting this picture now." He's just a genius and I love him to death. He sent it over and we're in the middle of the editing suite for the thing I'm doing right now, and we all freaked out, man. It was so amazing to see it come out.
Viola Davis talks about his role as Amanda Waller in Suicide Squad. Girl was holding on us! Or at least on me, I didn't know she had geeky inclinations! Yay!
As a comic book and Wonder Woman fan, I love the whole DC Comics universe. I traded comics as a kid so all of that appeals to me. When you dream about being an actor as a kid, that's what you dream about. It's like play acting: being the superhero, getting the gun; it plays into that fantasy .How to Get Away with Murder changed my exposure. I don't know if it changed the quality of roles as much as it the exposure. I mean certainly Amanda Waller is a fabulous character.
We have more character posters of Avengers: Age of Ultron: Hulk, Nick Fury, Black Widow and Thor! We are only missing Captain America, Hawkeye, the twins Quicksilver and Scarlet Witch, and Vision.
Chris Hemsworth talks about Avengers: Age of Ultron while on the set. Yeah, that was a visit from last June but the interview just came out! It provides us lots of new info regarding Thor's role and the conflict in the movie. Also, Thor getting to wear civilian clothes, which make Chris happy. I image Thor's armor ain't that comfortable as cool as it looks~
There's a party scene where I was in a nice coat and jeans and the guys just kept joking, "When did Thor go shopping? Did he buy this online or did Jane do it? Or did he actually go shopping? You don't see him go shopping but the question is raised because he's not dressed in his Asgardian attire. He's more human in this film, definitely.
And then Ultron comes and ruins all the fun and bonding time. I have said it before and I say it again, I will watch a three hour movie of the Avengers' downtime adventures. Come one, Marvel! Superhero sitcom!
We also saw a couple of series posters. First, a Daredevil one with Matt Murdock looking bloodied and cool. And another of Game of Thrones Season 5 where Tyrion is a badass mofo and faces down a dragon that seems to be Drogon!
Let's finish with casting news! After Luke Evans dropped out of The Crow reboot, we were wondering who will be the new lead. Wonder no more, Jack Huston got the job. Man, the guy is in Ben-Hur and now The Crow? As much as I am not too sure about these reboots, gotta admit Huston has a great agent!
And now for Lucifer! I mean the pilot and possibly TV series based in the character from Neil Gaiman's Sandman. Tom Ellis, as in Robin Hood from Once Upon A Time, got the job! Not sure how will he look as a blonde but we will see.
And that it's for the week. Before I go, I want to wish Happy Birthday to Alan Rickman (21), Ellen Page (21), Sophie Turner (21), Julie Walters (22), Dakota Fanning (23), Emily Blunt (23), Sean Astin (25) and Donal Logue (27)


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Lectures will be held every second Wednesday in the Warwick Hall, Church Green, Burford, OX18 4RZ
Commencing at 11am
(Coffee available in Hall Café beforehand)
12th June 2019
Lecturer: Aliki Braine
Understanding the difference between Contemporary and Historic Art
11th September 2019
Lecturer: Professor Brendan Cassidy
Canaletto and England
9th October 2019
Lecturer: Professor Colin Davies
Zaha Hadid: Architectural Superstar
13th November 2019
Lecturer: Elizabeth Merry
William Shakespeare and his Turbulent World
Guests are welcome to attend a lecture; suggested donation £10
(Venue: Warwick Hall)
10.45am – 3.00pm
£30 (£33 for non-members)
Payable in advance
Coffee available from 10.15am
October 23rd 2019
Brian Macdonald
Tribal Rugs: Treasures of the Black Tent
Programme Secretary
Verity Brown
01608 811728
THURSDAY 15th NOVEMBER 2018
STRATFORD: "the play's the thing" "Behind the Scenes" tour & "Troilus & Cressida"
Wednesday January 16th 2019
Oxford: The Bodleian and Ashmolean
Wednesday March 20th 2019
Compton Verney - Painting Childhood: From Holbein to Freud
June 2019(date tba)
Woburn Abbey and Bletchley Park
Autumn 2019(date tba)
Tate Britain: William Blake – visionary, print-maker, poet and painter.
Visits Secretary
Carolyn Walton
01993 822296
There are two ways to submit an application form to us:
1. Download the application form, type in your responses, save it and email it to us. OPEN IN WORD.
2. Download the application form, print it out, fill it in by hand and post it to us. OPEN PDF.
50th Anniversary
This coming year is TAS Cotswold's fiftieth anniversary! Plans are afoot to celebrate in the summer.


text: Mar10 Receiving annoying phone calls? Find out who called Written by Ted Evans. Posted in Family and Lifestyle The act of answering the phone has become a real nuisance. You receive unwanted phone calls at 8 a.m. or in the middle of the night. Instead of hearing another human, you get a pre-recorded message about something that you do not care about. If the message is not pre-recorded, then text-to-speech technology generates it instantaneously. Most of the time, you do not have any idea about the source of the number that pops up on the telephone screen. You are not sure if it is just another call center representative or one of your friends. The good news is that you can find out who called. Please continue reading to learn how. Do a reverse phone number lookup Tracking phone numbers is not as complicated as it used to be. Nowadays, if you want to identify an unknown caller, you do a reverse phone number lookup. This is unquestionably the most effective search technique. You can find the person's name and address right away. All you have to do is to enter the phone number on a website and get hold of this information. You will clearly see what listing is associated with that specific number. If the digits are associated with a business, then the company will show up in the first results. However, if they are associated with a household, the address will not likely be included. Tracking a phone number using this method is not always free. Some sites will charge you for this kind of service. You will be happy to hear that it is possible to make free online searches. Think about using Facebook When you call a friend, they pop up on Facebook under people you may know. So, it should not come as a surprise that you can use the social media site as a caller ID. Facebook provides you the option of searching for friends using their mobile numbers. You will be using the social networking platform to find someone who may not be a friend at all. How can you satisfy your curiosity? Simple: you type the digits in the search box. The person's profile will pop up. Attention needs to be paid to the fact that most people keep their numbers private. This means that Facebook is not that reliable when it comes to looking up unknown callers. Should you not just answer the phone? Maybe you are thinking that it is not such a bad idea to answer the call. This way, you will know for sure who is at the other end of the line. The temptation is great but you have to resist it. Do you know why? Because the chances of it being an emergency are extremely low. Unknown calls do not come only from acquaintances or telemarketers. Sometimes, scammers are behind them. they will steal your money, as well as your information. Even if the person who calls does not have such intentions, it is not okay to be disturbed. The point is that you should not answer the phone, no matter how much you want to. MoreWhat is a SIM only rolling contract?Appliances that could transform the way you liveGet your trip to Las Vegas ensuredHealth in your 50's: do these preventive health screeningsBuying the perfect investment propertyHow to increase your yearly income with three simple tricks


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Weld Engineering Co-op/Intern - Spring 2020 (Cincinnati)
CompanyHonda North America
Weld Engineering Co-op/Intern - Spring 2020
This job description reflects potential openings for the Spring 2020 Co-op/Internship Session (December-May). This is a general job description and represents multiple openings in various departments. Honda offers both single and multi-semester co-ops and internships. College students must apply to the requisition pertaining to their major and semester of interest.
Weld Engineering or Weld Engineering Technology co-op opportunities typically exist in the following areas, projects may include:
Welding various materials together via various welding processes (Resistance Spot welding as the primary) via structured test developed by Honda associates.
Destructive analysis of the welded samples (Cross sections and tensile tester use). This includes sample preparation for Macrograph analysis.Data logging and analysis to create lab reports for explanation of results.Material management for testing and general support of other processes in the weld lab, including testing consumables.
General support on projects as needed.
Daily Tasks: Attend meetings, work on project activities, problem analysis, write technical reports, troubleshoot manufacturing or quality problems, and communicate to internal/external customers.
Program Requirements:
Class Status: Sophomore (by credit hour) or above
Term: Minimum of 10 weeks required at 40 hours per week
Degree: Candidate must be enrolled in a bachelor degree program studying Weld Engineering, Weld Engineering Technology, or related field.
Location: (Positions could be located at the following)
Honda Facilities/Operations:
Honda of America Manufacturing, Inc.
Honda of America Manufacturing turns cutting-edge technology into world-class vehicles at three Ohio manufacturing facilities. In Ohio, Honda manufactures many of the most popular, highest-quality vehicles sold in the United States.
Marysville Auto Plant - Marysville, OH
Manufacturing operations include Assembly, Weld, Paint, Engineering Services, Stamping, Plastics, Material Services, and Vehicle Quality.
East Liberty Auto Plant - East Liberty, OH
Manufacturing operations include Assembly, Weld, Paint, Engineering Services, Stamping, Plastics, Material Services and Vehicle Quality
Anna Engine Plant - Anna, OH
Manufacturing operations include Assembly, Drivetrain Manufacturing, Ferrous Manufacturing, Material Services, Engine Quality, Casting and Machining
Honda North America, Inc. - Marysville, OH, East Liberty, OH & Anna, OH
Honda North America, Inc. provides strategic and operational support for Honda's operations in the North American region.
Honda Engineering North America, Inc. - Marysville, OH & Anna, OH
Honda Engineering is responsible for the development of manufacturing processes, systems and equipment used to build Honda products. It is a major supplier of all types of manufacturing equipment and tools including machining, casting, forging, stamping, painting, welding and assembly.
Honda Transmission Manufacturing of America, Inc. - Russells Point, OH
Honda Transmission Mfg. of America is the leading manufacturer of high-quality automatic transmissions for Honda and Acura.
Associated topics: autocad, building process, civil designer, compute, designer, engineer, material, model, structural designer, transportation
Listing ID
Related The Xavier University Newswire Jobs Listings
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- An inside look into an English professor's academic conferences and conventions


text:
Aopen Ax4c Max Bios 1.14 A Driver Download
Aopen Ax4c Max Bios 1.14 A Driver Details:
Aopen Ax4c Max Bios 1.14 A File Name: aopen_ax4c_max_bios_1.14_a.zip
Aopen Ax4c Max Bios 1.14 A Driver Version: 713yL5
Aopen Ax4c Max Bios 1.14 A ZIP Size: 124.kb
Manufacturer: Aopen
Scan Status: OK
Aopen Ax4c Max Bios 1.14 A now has a special edition for these Windows versions: Windows 7, Windows 7 64 bit, Windows 7 32 bit, Windows 10, Windows 10 64 bit,, Windows 10 32 bit, Windows 8, Windows 10 Home 64bit, Windows XP Home Edition, for home desktops and laptops 32bit, Windows 10 64bit, Windows 7 Enterprise (Microsoft Windows NT) 32bit, Windows 10 Mobile 32bit, Windows 8 32bit, Windows 10 IoT 32bit, Windows 7 Service Pack 1 (Microsoft Windows NT) 64bit, Windows XP Starter Edition 32bit,
Aopen Ax4c Max Bios 1.14 A Download Stats:
Direct Downloads: 365
Most Recent Download: 5/20/2019
Managed Downloads: 565
Most Recent Download: 5/23/2019
Download Mirrors: 2
Current Delay: 22 Seconds
Driver License: GPL
Direct Download Success Stats:
Reports Issued By 220/365 Users
Success Reported By 211/220 Users
Driver Download Score85/100
Driver Installation Score92/100
Overall preformance Score96/100
Installation Manager Success Stats:
Reports Issued By 400/565 Users
Success Reported By 396/400 Users
Driver Download Score93/100
Driver Installation Score91/100
Overall preformance Score95/100
1. Direct DownloadSelect your OS and press "Download".
This option requires basic OS understanding.
Select Your Operating System, download zipped files, and then proceed to
manually install them.
Recommended if Aopen Ax4c Max Bios 1.14 A is the only driver on your PC you wish to update.
2. Driver Installation Manager
This option requires no OS understanding.
Automatically scans your PC for the specific required version of Aopen Ax4c Max Bios 1.14 A + all other outdated drivers, and installs them all at once.
After downloading and installing Aopen Ax4c Max Bios 1.14 A, or the driver installation manager, take a few minutes to send us a report:
* Only registered users can upload a report.
Don't have a password?
Please register, and get one.


text:
The ' Cloud Gaming market' report added recently by Market Study Report, LLC, evaluates the industry in terms of market size, market share, revenue estimation, and geographical outlook. The study also delivers a precise summary that illustrates the competitive milieu, growth opportunities and application landscape of the Cloud Gaming market depending on the industry's financial and non-financial impact.
According to the Cloud Gaming market report, the industry is anticipated to accrue considerable returns while recording a creditable yearly growth rate during the foreseeable years. Illuminating an extremely excruciating outline of this industry, the report also offers significant details relating to the complete valuation that the market presently holds, a detailed breakdown of the Cloud Gaming market, as well as the existing growth opportunities in the business vertical.
Request a sample Report of Cloud Gaming Market at: https://www.marketstudyreport.com/request-a-sample/1700381?utm_source=news.decresearch.com&utm_medium=Abhijeet
What pointers does the report cover
The region-based analysis of the Cloud Gaming market:
- The Cloud Gaming market, in terms of provincial scope, is divided into USA, Europe, Japan, China, India, South East Asia. The report also covers the particulars linked to the product's use throughout the topographies in question.
- The evaluations held by all the zones in question and the market share accounted for by each region are contained within the report.
- The report totals the product consumption growth rate across the applicable regions and their consumption market share.
- The Cloud Gaming market consumption rate of all regions, on the basis of applications and product types are also included in the report.
A review of the market segmentation:
- The Cloud Gaming market, according to product type, is categorized into
- Video Streaming
- File Streaming
. Moreover, the market share of each product as well as the projected valuation are contained within the report.
- The report comprises facts concerning each product's sale price, revenue and growth rate over the estimated duration.
- Based on applications, the Cloud Gaming market is segmented into
- Connected TV
- Tablet
- Smartphone
. The market share of each product application along with the estimated revenue that each application might account for is cited in the report.
Driving factors & challenges:
- The report delivers data regarding the forces affecting the commercialization scale of the Cloud Gaming market and their impact on the revenue graph of this business vertical.
- The report is an all-encompassing study of the latest trends propelling the Cloud Gaming market alongside the challenges that this industry is likely to experience in the forecast timeframe.
Marketing Strategies Undertaken:
- The report gives out an idea of the numerous tactics that are deployed by renowned shareholders with regards to product marketing.
- The report also offers a brief overview about sales channels that companies opt for.
- The dealers of these products along with a summary of the top customers for the same are also provided in the report.
Ask for Discount on Cloud Gaming Market Report at: https://www.marketstudyreport.com/check-for-discount/1700381?utm_source=news.decresearch.com&utm_medium=Abhijeet
Breakdown of the key competitors in the industry:
- A brief outline of the manufacturers active in the Cloud Gaming market, which mainly comprises
- Sony
- GameFly (PlayCast)
- Nvidia
- Ubitus
- PlayGiga
- Crytek GmbH
- PlayKey
- Utomik (Kalydo)
- 51ias.com (Gloud)
- Cyber Cloud
- Yunlian Technology
- Liquidsky
- BlacknutSAS
- Alibaba Cloud
- Baidu
- Tencent Cloud
- Ksyun (Kingsoft)
- LeCloud
as well as distribution limits and sales area, have been included.
- The specifics of every vendor comprising of company profile, overview, and their range of products have been described.
- The report mainly stresses on the product sales, price models, revenue generation and gross margins.
The Cloud Gaming market report covers several other details namely an estimation of the competitive landscape, a study pertaining to the market concentration rate and concentration ratio over the predictable period.
For More Details On this Report: https://www.marketstudyreport.com/reports/global-cloud-gaming-market-growth-status-and-outlook-2019-2024
Some of the Major Highlights of TOC covers:
Cloud Gaming Regional Market Analysis
- Cloud Gaming Production by Regions
- Global Cloud Gaming Production by Regions
- Global Cloud Gaming Revenue by Regions
- Cloud Gaming Consumption by Regions
Cloud Gaming Segment Market Analysis (by Type)
- Global Cloud Gaming Production by Type
- Global Cloud Gaming Revenue by Type
- Cloud Gaming Price by Type
Cloud Gaming Segment Market Analysis (by Application)
- Global Cloud Gaming Consumption by Application
- Global Cloud Gaming Consumption Market Share by Application (2014-2019)
Cloud Gaming Major Manufacturers Analysis
- Cloud Gaming Production Sites and Area Served
- Product Introduction, Application and Specification
- Cloud Gaming Production, Revenue, Ex-factory Price and Gross Margin (2014-2019)
- Main Business and Markets Served
Related Reports:
1. Global Stock Images Market Growth (Status and Outlook) 2019-2024
This report categorizes the Stock Images market data by manufacturers, region, type and application, also analyzes the market status, market share, growth rate, future trends, market drivers, opportunities and challenges, risks and entry barriers, sales channels, distributors Analysis.
Read More: https://www.marketstudyreport.com/reports/global-stock-images-market-growth-status-and-outlook-2019-2024
2. Global Private Helicopter MRO Market Growth (Status and Outlook) 2019-2024
Private Helicopter MRO Market Report covers the makers' information, including shipment, value, income, net benefit, talk with record, business appropriation and so forth., this information enables the buyer to think about the contenders better. This report additionally covers every one of the districts and nations of the world, which demonstrates a provincial advancement status, including market size, volume and esteem, and also value information. It additionally covers diverse enterprises customer's data, which is critical for the producers.
Read More: https://www.marketstudyreport.com/reports/global-private-helicopter-mro-market-growth-status-and-outlook-2019-2024
Read More Reports On: https://www.marketwatch.com/press-release/ophthalmic-viscosurgical-devices-ovd-market-2024top-companies-trends-and-future-prospects-details-for-business-development-2019-06-04
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text:
NRA CCW Instructor
This 16-hour course teaches Instructor Candidates the knowledge, skills and attitude essential to organizing, promoting and teaching NRA's CCW Course where instructors will teach the basic knowledge, skills, and attitude necessary to carry a concealed pistol for personal defense.
21 years old
NRA Basic Pistol Instructor Course (CLICK HERE for course dates)
Two ways to complete the CCW Basic Student Prerequisite
NRA Basic CCW Course $125 (CLICK HERE for course dates)
Our SD County CCW Course $175 (CLICK HERE for course dates)
*Deposits and courses are non-refundable. Students may apply the costs to a future date or another course.
Additional Info
July 20th & 21st
Open Seating: Pay for the course now without choosing a course date. Perfect for a gift or individuals with demanding schedules.
Day 1: 8:00 Am - 5:00 pm (Objective Based)
Day 2: 8:00 Am - 5:00 pm (Objective Based)
Defensive Tactics and Firearms 504 E Alvarado St, Suite 207, Fallbrook, CA 92028
Highlighter and pen
Semi-Automatic Pistol (NO REVOLVERS)
300 rounds of ammunition (no live ammunition permitted in class)
Minimum of 3 magazines
Quality strong-side holster used for concealed carry
Cover garment
Eye protection/Hearing protection (electronic earmuffs highly recommended)
Shoes/Boots – comfortable with sufficient support to permit a full range of motion. No sandals or flip-flops.
Credential Fees:
Upon the completion of this course instructor candidates must pay a credentialing fee directly to the NRA. Credentialing fees are based on NRA membership status and current instructor status as follows:
NRA member first instructor rating - $30
NRA member additional instructor rating - $10
Non-NRA member first instructor rating - $50
Non-NRA member additional instructor rating - $30
*Deposits and courses are non-refundable. Students may apply the costs to a future date or another course.