This paper examines Vodou vocality and vibration as embodied technologies of resistance and worldmaking within Haitian Vodou. Drawing on ethnographic research with practitioners, ritual specialists, and sound archives, it foregrounds the voice, breath, rhythm, and percussive utterance as epistemic forces that exceed language and textuality. In Vodou ceremonial contexts, vocal sounds, chants, cries, seemingly unintelligible utterances, call-and-answer patterns, and breath-inflected exhalations operate not merely as expressive media but as vibrational acts that reorganize space, time, and relationality. These sonic practices call lwa yo (Vodou spirits), activate ancestral memory, and recalibrate the body toward balance, producing what practitioners describe as alignment rather than belief. By centering the animation of vocality in Vodou, this paper examines how vocal performances function within the liturgical cycle, their role in sustaining cultural memory, and their capacity to mobilize both spiritual power and social solidarity. It examines instances of divine interaction as conveyed through vocal sonorities and the responses elicited from listeners. It highlights the expertise of Vodou priests, who provide insight into the significance of voice and the interpretations of performances of Vodou liturgical songs. Situating Vodou vocality within Black Atlantic histories of enslavement, colonial violence, and epistemic suppression, the paper argues that vibration functions as a counter-archive: a mode of transmission that resists capture by colonial grammars and survives through repetition, resonance, and corporeal attunement. Vocal vibration becomes a practice of fugitivity, enabling practitioners to sustain worlds that colonial modernity sought to silence or eradicate.