Let it burn
Four years following the release of the debut, Quo Vadis had emerged onto the Québec death metal scene as one of its main contributors and solidified their position with a follow-up to their solid debut Forever.... Abandoning much of the experimentation and classical influence that came with its predecessor, Day Into Night was more fixed on a progressive brand of their already intricate tech/melo death blend. What stemmed from this wound up being a set of memorable, melodic riffs and more complexity and focus in the song structures, while retaining that foot-to-the-floor groovin' death metal, and topping it all off with their signature technical flare. While some may classify this album as the band opening up to a more accessible style, I like to think of it as the expansion and refining of some brilliant ideas.
The first thing I noticed listening to this album was once again the production, however, not in a bad way like its former. They seemed to have cleaned it up quite a bit, albeit not quite as sterile as some of its melodic death metal counterparts. Returning is the same line-up from its predecessor, who bring to the table a much more focused approach this time around. Right from the get go, you will notice that this album contains a very energetic vibe throughout. Much more aggressive in some areas in comparison to Forever..., while still retaining its melodic edge. The opening two tracks are absolutely thunderous groovers with some tight, catchy melodic riffs and a ripping bassline, that coincides nicely with the tremors Yanic Bercier is brewing up on the bass drum. Plenty of hooks and short, effective breakdowns can be found throughout these two alone which are followed by some excellent, interchanging leads from Itman and Frydrychowicz on top of Bercier's pummeling double bass arrangements as well as his trade mark ride bell patterns. The latter of the two tracks is then sealed off by a superb set of solos from Itman, who goes as a bit of an unsung hero behind Frydrychowicz's leads. The album then proceeds to slow a bit in tempo into a solid, more progressive piece, "Hunter/Killer", which also contains some great leads and the dynamic drumming that continues to evolve as the album progresses, before picking right back up again into another steady rocker with a plethora of catchy riffage; "Let it Burn".
The album is a continuous evolver and delivers a few slower tempo tracks such as the blissful, proggy instrumental "Dream" that envelopes you in a radiant sphere and carries you through a cosmic ocean of soothing guitars and a phenomenal bass piece from Remy Beauchamp, who continues to shine through Day Into Night. The instrumental drops you right into, what could quite be, the best track Quo Vadis has written to date, in "On the Shores of Ithaka". This song is a complete package; blinding fury of colossal riffage, plenty of smooth changes in tempo, massive hooks, and a guitar solo from Frydrychowicz capable of making your face melt. It then subsides into the 30 second instrumental "Night of the Roses", that gives off a very strong Oriental vibe, effectively ending the 7+ minute epic. The album closes out with another smooth rock-based track in "I Believe", akin to the likes of "Hunter/Killer" and "Let it Burn", and I would have to say is my least favourite on the album, due to the fact that it really just sounds like a continuation of those aforementioned two tracks. Not to lose steam, however, as the album finishes off with two, darker, more sombre tracks in the two part composition "Point of no Return" ("Mute Requiem" and "Candences of Absonance", respectively). The former starts at a blistering pace with the duel guitars and more magnificent work from Bercier, before dropping into a melancholic tone and progressing into a beautifully executed closer accompanied with Frydrychowicz's agonizing screams that put the icing on this deliciously lurid two piece closer.
Overall, the flaws on this album are few and far between. The only one being the vocals, which could've still used a bit of an overhaul, but nonetheless there was still a substantial improvement in that department from the last album. If you're looking for something within the genre that's accessible, while still well written and contains that extra technical flare, look no further than Day Into Night. This album delivers all you can expect from tech/melo death band; 52 minutes of vigorous riffing chalked full of masterful solo work, a bone crunching bassline, and massive plethora of interchaging drumming patterns that never goes stagnant. Most melodeath during this era was beginning to fall off into the uncreative bore that it became bloated with for the next decade. Quo Vadis took the four year break to refine their style and avoid falling into the melting pot.
The first thing I noticed listening to this album was once again the production, however, not in a bad way like its former. They seemed to have cleaned it up quite a bit, albeit not quite as sterile as some of its melodic death metal counterparts. Returning is the same line-up from its predecessor, who bring to the table a much more focused approach this time around. Right from the get go, you will notice that this album contains a very energetic vibe throughout. Much more aggressive in some areas in comparison to Forever..., while still retaining its melodic edge. The opening two tracks are absolutely thunderous groovers with some tight, catchy melodic riffs and a ripping bassline, that coincides nicely with the tremors Yanic Bercier is brewing up on the bass drum. Plenty of hooks and short, effective breakdowns can be found throughout these two alone which are followed by some excellent, interchanging leads from Itman and Frydrychowicz on top of Bercier's pummeling double bass arrangements as well as his trade mark ride bell patterns. The latter of the two tracks is then sealed off by a superb set of solos from Itman, who goes as a bit of an unsung hero behind Frydrychowicz's leads. The album then proceeds to slow a bit in tempo into a solid, more progressive piece, "Hunter/Killer", which also contains some great leads and the dynamic drumming that continues to evolve as the album progresses, before picking right back up again into another steady rocker with a plethora of catchy riffage; "Let it Burn".
The album is a continuous evolver and delivers a few slower tempo tracks such as the blissful, proggy instrumental "Dream" that envelopes you in a radiant sphere and carries you through a cosmic ocean of soothing guitars and a phenomenal bass piece from Remy Beauchamp, who continues to shine through Day Into Night. The instrumental drops you right into, what could quite be, the best track Quo Vadis has written to date, in "On the Shores of Ithaka". This song is a complete package; blinding fury of colossal riffage, plenty of smooth changes in tempo, massive hooks, and a guitar solo from Frydrychowicz capable of making your face melt. It then subsides into the 30 second instrumental "Night of the Roses", that gives off a very strong Oriental vibe, effectively ending the 7+ minute epic. The album closes out with another smooth rock-based track in "I Believe", akin to the likes of "Hunter/Killer" and "Let it Burn", and I would have to say is my least favourite on the album, due to the fact that it really just sounds like a continuation of those aforementioned two tracks. Not to lose steam, however, as the album finishes off with two, darker, more sombre tracks in the two part composition "Point of no Return" ("Mute Requiem" and "Candences of Absonance", respectively). The former starts at a blistering pace with the duel guitars and more magnificent work from Bercier, before dropping into a melancholic tone and progressing into a beautifully executed closer accompanied with Frydrychowicz's agonizing screams that put the icing on this deliciously lurid two piece closer.
Overall, the flaws on this album are few and far between. The only one being the vocals, which could've still used a bit of an overhaul, but nonetheless there was still a substantial improvement in that department from the last album. If you're looking for something within the genre that's accessible, while still well written and contains that extra technical flare, look no further than Day Into Night. This album delivers all you can expect from tech/melo death band; 52 minutes of vigorous riffing chalked full of masterful solo work, a bone crunching bassline, and massive plethora of interchaging drumming patterns that never goes stagnant. Most melodeath during this era was beginning to fall off into the uncreative bore that it became bloated with for the next decade. Quo Vadis took the four year break to refine their style and avoid falling into the melting pot.
93/100
Originally posted on Metal-Archives, September 25th, 2013
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