Four years ago, many critics smugly brayed about "the death of metal," as if metal were only represented by the handful of groupie-schtupping, whiskey-guzzling apes represented in This Is Spinal Tap and The Decline Of Western Civilization Part II. Now, thanks to the success of White Zombie, Marilyn Manson, and Ozzfest, said critics are braying just as smugly about "the triumphant return of metal." The fans knew it hadn't gone anywhere; it just lost those prominent buffoons who came to represent metal in the public eye. Meanwhile, subgenres like death metal, funk metal, and black metal have flowered, and bands on the periphery have continued to find success. Voivod, possibly French Canada's best export, has long been among these venerable practitioners, churning out futuristic-themed metal without faltering. Phobos, the band's latest album, is every bit as smart and heavy as its predecessors: Starting with the dense "Catalepsy I," Phobos relentlessly propels itself through countless crunching hooks and crashing beats. While the science-fiction imagery in the lyrics may be a little nerdy, it's presented in guttural shrieks so powerful that vocalist Eric Forrest could just as well be trying to save your soul through his words. What sets Voivod apart from its contemporaries is its sources of inspiration: Few other metal bands have actually heard King Crimson's "21st Century Schizoid Man," let alone possessed the guts to try to cover it. If you think metal is just lame hair bands, try Phobos and surprise yourself with how smart and intense the genre can be.