Quo Vadis
Forever

This will be a very long review, lazy readers beware J

Quo Vadis, a Canadian band not to be confused with their Eastern European namesake, are a technical melodic death metal group.

A bit of band history: the band was formed in 1993 in Amos by the mastermind of the group Stéphane Paré, vocalist and lyricist, who, after recruiting Rémy Beauchamp on bass, Bart Frydrychowicz and Arie Itman on guitars, and Yanic Bercier on drums, created one of the best technical melodic metal acts.

The sound:

Quo Vadis is a very peculiar band, almost unique in their genre as, although favoring extremely complex and intricate music, rich in rhythmic changes and virtuosity such as bass and guitar solos and typically particularly extravagant riffs, they always strive not to lose sight of two fundamental characteristics of their music: aggressiveness and melody. The former is emphasized not only by Paré's scream, which is extremely expressive and at times desperate, but also by the melodic bases of the tracks, many of which are based on speed. The melodic vein is instead highlighted by guitar and violin openings (especially in the album we will soon analyze); this is precisely what makes Quo Vadis a band not only suitable for those who favor an aggressive sound but also for those, like myself, who always look for a bit of melody in albums.

"Forever":
Released way back in 1996, "Forever" represents the first step in the discography (excluding the demo of the previous year) of the then young Quo Vadis. Composed of 10 tracks, for a total of just under 39 minutes, this album already incorporates all the distinctive characteristics of the Quebec band, presenting itself as mature and endowed with a pronounced personality.

Opened by a harmonic guitar riff that will then be the main theme of the entire song, “Legions Of Betrayed” is undoubtedly one of the emblematic tracks of the entire platter, showing itself as a violent track in its progression and endowed with a truly expansive coldness: now I don't want this statement to make you think badly, since this first song is not devoid of emotional parts, but it is endowed with a glacial and cold atmosphere that will leave you quite puzzled. The band's performance is impeccable and entirely free of criticism, resulting in meticulously crafted and creative in all its aspects. Fantastic are the lyrics, which speak of a Jesus Christ who, despite sacrificing himself for humanity, is repaid with cruelty by our kind. The descriptions in the text then give that touch of intelligent violence, which makes the work a masterpiece, never falling into vulgarity, but always maintaining high levels as can be seen in the second stanza which reads:

“I can not comprehend
The logic behind your sacrifice
As you caress me with your broken hands
I break them again,
Spitting venom into your tired eyes”

“As I Feed The Flames Of Hate” is opened by a guitar intro that accompanies the delicate and despair-laden notes of the violin, making its first appearance, taking the listener into a sad and gloomy world: this track is perhaps the most emotionally charged, precisely due to the peculiarity of adding an atypical instrument like the violin to death metal, which with its delicate but slightly melancholic sound further accentuates the sense of loss and bewilderment. The text this time seems to focus on the spirit of man (again Stéphane speaks in the first person, but now seems to delve more into personal facts rather than a collective “I”), which is subjugated and controlled by a sensation he cannot manage and about which he rarely speaks: hatred.

This feeling of wanting to hide such a great and terrible emotion continuously emerges during the six minutes of the track, highlighted above all by the tragic progress of the melodic section. A blast beat on the double pedal that gradually fades introduces us to the brief but intense “Carpe Deum”, in which the wilder side of the band prevails: we will notice, therefore, a particular devotion to ferocious, wild rhythms and riffs, blasted at high speed throughout the entire song. It is difficult to explain the emotions that this episode carries with it, as it seems almost a “touch and go” that, like a hurricane, comes from nowhere and returns to nowhere.

The subsequent 57 seconds are represented by the spoken interlude “Mystery”, a brief track, if that can be called a track, with an almost psychedelic flavor.

The following 3 minutes and 55 seconds, corresponding to the track “Inner Capsule (Ensemble Of The Element Part II)", are perhaps those that struck me the most, precisely because, despite being a particularly extreme album, this song is so aggressive and full of hatred in its notes and vocals that it's almost excessive in the resentment it exudes. In this case, the text contributes to giving the track a sense of oppression and suffocation as it begins thus:

“I just can’t take it anymore
Knees and hands bolted to the floor
The smoke is coming down on me
Will I just suffocate or be”.

Another piece of great allure is the next one, named “Pantheon Of Tears”, in which melody comes strongly to the forefront again, even though the vocals become rougher, almost wild. In this case, really valuable bass lines can be appreciated, which, besides impeccably supporting the rhythmic section, also draw melodically impactful phrases; a similar discourse can be applied to “Zero Hour”, another in-your-face track, with an excellent groove, featuring guitar lines decidedly atypical for a death piece, instead proving more suited to heavy-oriented aspects. Of great class, as well, is the final solo, which leads us to the instrumental of the LP: “The Day The Universe Changed”, a song where the absence of vocals is not perceived in the least, as it is expertly conducted by the band, with an abundance of double pedals, tight riffs, yet careful not to make the melodic sense disappear. The outburst after 3 minutes and 30 seconds, opening the way to a guitar solo clearly inspired by progressive elements, is excellent.

“In the darkness of the night I stop and wonder if my existence has changed the world in any way”, starting with this question, the short but touching “Nocturnal Reflections” opens, a piece that presents itself as a simple carpet of guitar notes, which, while not presenting any technically particularly noteworthy points, is exceptionally relaxing. The closure of the disc is entrusted to “Sans Abris”, a song already present on the previous demo: the piece presents itself supported entirely by a progressive base, extremely relaxed. The voices (a duet between male and operatic female vocals) make their appearance at the end of the track, proving dissonant among themselves in the classic but always well-received angelic vs. demonic voice duet.

Conclusion:

The album is, from a purely technical point of view, a very valid record that presents itself as varied in rhythmic structures, refined and elegant with regards to the melodic compartment; at the same time, it proves to be a plat of great depth also from an emotional point of view, succeeding in revealing the feelings of the musicians who conceived it, thanks also to lyrics rarely found so interesting and intelligent.

Given the professionalism, quality, and songwriting ability expressed by the band, I believe it is impossible not to give 5 stars to this extreme masterpiece of death metal.