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Metal - Released June 17, 2016 | Roadrunner Records

Hi-Res Distinctions 4F de Télérama
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Metal - Released June 17, 2016 | Roadrunner Records

Distinctions 4F de Télérama
This sixth album by the French extreme metallers is a bold step forward into new territory. Having already cemented their place as one of the best technical death metal bands in history, here they broaden their horizons considerably, experimenting with melody, groove, shorter songs, more straightforward structures, and actual singing. This shift from complexity toward accessibility has seen Magma draw comparisons with Metallica's black album, which Gojira have welcomed. Although they have toned down the complexity a bit, the music is still incredibly heavy, and there are still more ideas in this album than most bands manage in an entire career -- from the Middle Eastern soloing of "Silvera" through the brutal, syncopated drum tattoo that drives "The Cell" to the almost liturgical, monastic vocals on the title track and the incredibly harsh, shrieking, industrial guitar effect that shows up periodically. Opener "The Shooting Star" sets the stage for the rest of the album with a sludgy midtempo groove, multi-tracked vocals, a minor-key melody, clean singing, and a veritable wall of guitar. The title track is one of the most progressive on the record, harking back to the band's old-school days with at least five different sections, and is followed up immediately by the one-two punch of a couple of the album's heaviest tracks -- "Pray," blasting along with grinding, djent-inspired riffage, and "Only Pain," where Joe Duplantier roars into the void over a cyclical maelstrom of guitar. But there's almost a pop feel to some of the material here. Both the music and Duplantier's singing style have a '90s vibe, and the chorus on "Stranded" could almost have come off something by one of the sludgier grunge bands, like Alice in Chains or Tad (who were, incidentally, once described by a British music journalist as "the Metallica it's OK to like"). The album ends in stately near-silence with the acoustic instrumental outro "Liberation." The bulk of the lyrics are inspired by the untimely passing of the Duplantier brothers' mother, a subject that has obviously been the cause of much pain but is also handled with grace, sensitivity, and good taste. This album is not going to give Gojira any big pop radio hits, but it will certainly broaden their appeal outside of the death metal ghetto to more general fans of metal and hard rock. © John D. Buchanan /TiVo
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Rock - Released April 30, 2021 | Roadrunner Records

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When Magma was released in 2016, Gojira unveiled a theretofore hidden facet of the group’s personality: the album, written following the death of the mother of Joe and Mario Duplantier (guitarist/singer and drummer of the group respectively), is a dark introspection shot through with heightened sensitivity and palpable pain. This catharsis set to music no doubt left fans wondering what the follow-up would sound like. The single Another World, released in 2020, gave an early indicator, pointing in a brighter direction which was subsequently confirmed by the groovy and riff-centric Born For One Thing, signalling a return to the group's fundamentals. This proved to be the key for this opus which might just be the triumphant commercial breakthrough of a career that has been in perpetual rise: Gojira meticulously lay out each of the elements which have built their “trademark” sound through the years. Whether it’s raw death (Grind, Into The Storm), more progressive (The Chant, The Trails) or a return to their ethnic influences as on the eponymous title track or Amazonia, Gojira have an immediately identifiable uniqueness. So much so that the four Landes (France) natives can now afford to unleash a Sphinx or New Found, two tracks which are archetypal of their music, without anyone finding fault with it, since the band themselves are the symbolic of these types of combinations. There may not be many surprises, but when viewing Fortitude as a pivotal album, this huge “summary of previous episodes” makes sense. This is a gateway. Because even though the quartet’s work to this point has undoubtedly put France squarely on the worldwide metal map, they’re still miles from tapping into their full potential, a message the group make clear with this seventh clarion-call of an album. Gojira are like a child prodigy grown into an exciting teenage prospect, and now a balanced adult who lives his life as a man. They don't need to show off to be heard: their intelligence is self-evident and has already won them respect. In short, this band is the complete opposite of what our current trash culture offers us. Ultimately, that march against the tide explains why, 20 years after the completely unexpected surprise of Terra Incognita, Gojira’s Fortitude is in full flex, perfectly synthesising the past and looking ever higher and further into the future. © Charlélie Arnaud/Qobuz
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Hard Rock - Released October 6, 2008 | Listenable records

Rarely ones to work with the most accelerated of timetables to begin with (especially when touring opportunities kept on beckoning) France's Gojira kept fans waiting all of three years between their breakthrough album, From Mars to Sirius, and its all-important successor, The Way of All Flesh. Luckily, by the time it finally emerged in late 2008, Gojira's fourth full-length successfully met most all of the understandably heightened expectations head on, opening strong with a pair of typically syncopated, groove-driven numbers in "Oroborus" and the harmonics-punctuated "Toxic Garbage Island," then repeatedly upping the compositional ante with a string of imaginative progressive headbangers (e.g., "All the Tears," "Wolf Down the Earth," and album-best "The Art of Dying") that were rife with technical fireworks and songwriting variety. Yes, there were also a few failed experiments and indifferent offerings, including instrumental interlude "The Silver Cord" (which barely even registers amidst the surrounding sonic beatings), and the techno effects, jumpy chords, and whiny clean vocals that make the first half of "A Sight to Behold" sound like a bad imitation of hip-hop rockers Cypress Hill (clean vocals are a limiting factor throughout, actually, also contributing to the dull grind of "Vacuity"). But whereas first-time listeners were likely suffering from some serious metal fatigue by the arrival of the 75-minute album's 17-minute title song (give or take a few interruptions and tacked-on "hidden tracks"), devoted Gojira fans were surely grateful to have this much music to digest while beginning the likely long wait for the band's next offering. Until that day comes, The Way of All Flesh provides another fascinating chapter in Gojira's ever more impressive catalog. © Eduardo Rivadavia /TiVo
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Rock - Released October 7, 2016 | Listenable records

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Metal - Released June 20, 2012 | Roadrunner Records

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Metal - Released June 20, 2012 | Roadrunner Records

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Hard Rock - Released July 9, 2012 | Listenable records

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Hard Rock - Released October 24, 2005 | Listenable records

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Rock - Released August 5, 2020 | Roadrunner Records

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Metal - Released February 17, 2021 | Roadrunner Records

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Rock - Released March 26, 2021 | Roadrunner Records

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Metal - Released January 19, 2014 | Listenable records

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Rock - Released April 12, 2021 | Roadrunner Records

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Rock - Released April 25, 2021 | Roadrunner Records

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Metal - Released April 22, 2016 | Roadrunner Records

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Metal - Released May 20, 2016 | Roadrunner Records

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Metal - Released April 27, 2012 | Roadrunner Records

Dance - Released November 4, 2019 | unholy records

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Pop - Released August 17, 2015 | Roton

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Gojira in the magazine