Review by Felix on November 25, 2021.

I think we all agree that Undisputed Attitude is Slayer's most exceptional album. Its concept is questionable. Even almost 20 years after the release, I am still slightly confused about the offering of 'Gemini', that does not fit into the scheme. It seems as if Slayer did not trust their own concept. Or - worse still - they wanted to create an additional purchase incentive at the expense of their integrity. "Yes, we want to cover raw and violent punk classics. But come on, let us at least take one new Slayer track so that everybody has to buy the album, if he wants to have a complete Slayer collection" - this was seemingly their train of thought. To add insult to injury, the slow-moving 'Gemini' stands in sharp contrast to the other songs and it does not reach the expected level of aggression and velocity. The solid but fairly weary composition fails to enrich the catalogue of Slayer sustainably.

Apart from this minor conventional flaw, the band cannot be blamed for half-heartedness. Slayer have internalized the spirit of the songs and they express it in a furious manner. An acoustic amok run reminds us that the fucked up universe also knows good extreme music which cannot be labelled as metal. I freely admit that the pretty harmless Ramones are the only punk band that I really love. By the way, their best track is 'Garden Of Serenity' from "Halfway To Sanity". But that is another story. I just want to say that I am no expert for punk music and I do not know the original tunes. This said, the here presented attacks have absolutely nothing in common with the musical approach of the forefathers of punk. The songs barrel along as if there is no tomorrow. Even if the band slows down the pace, the aura of stubborn resistance stays the same. Song titles such as 'Guilty Of Being White', 'Violent Pacification' or 'Richard Hung Himself' show impressively that Slayer know how to play the game of provocation. And I do not think that we have to discuss about these lyrics. From my point of view, they should not and cannot be taken seriously.

The adrenaline rush seems to be unstoppable. After having performed the first high velocity eruptions, the band does not get out of breath and the level of harshness remains unaffected. For example, 'Spiritual Law' is one of the most intense orgies of the album, although it has a mid-paced middle part. Furthermore, it is remarkable that this song, as well as the majority of the other tunes, considers the necessary amount of melody lines. The crude authors of the original versions knew their business. Compared with their working results, the two punk-influenced creations of Jeff Hanneman (R.I.P.) do not leave a lasting impression. To play punk songs means more than killing your instrument within 90 seconds.

Despite the forceful and mainly clean sound, the album transmits the crusty character of typical hardcore / punk eruptions. Tom Araya's vocal performance is an important component in this context. He sounds less demonic than on the regular albums. Instead, he seems to scream permanently "piss off", while using mysteriously other words for that friendly invitation. Anyway! Undisputed Attitude has its own charm. Enjoy slayerized punk anthems and don't give a damn about the political - or naive? - lyrics. This is punk! (As a marginal note: the second CD offers three live tracks, among other things a cover version of Venom. Nice, but unspectacular.)

Rating: 8 out of 10

Review by Luka on June 26, 2001.

I haven’t heard Slayer this pissed since "Reign in Blood"! I mean the force and ferocity of this album is unmatched. Slayer don’t cover these songs, they butcher them, doubling the tempos (often turning the normal pace into blast beats) and dropping the tuning to a death metal standard. The result is absolute chaos and a headbanger’s heaven.

It’s hard to get into at first, sometimes the riffs are sped up beyond recognition and so they end up sounding too distorted and fast to appreciate. It’s easy to lose interest in all the hurry. Araya’s screams are constant and he signs the funny punk lyrics with absolute anger, but the words are often indiscernible since he’s forced to sing them so fast, in fact, it’s fastest I’ve ever heard anyone sing!

"Can’t Stand You" and "Ddamm" (Drunk Drivers Against Mad Mothers) are two songs penned by Jeff Hanneman during the early years of Slayer, when he had plans for a punk side project. "Abolish Government..." is definitely my favorite, with the strong beat and the catchy riffs, the first song has some very nice riffs too, and the foul lyrics of "I’m Gonna Be Your God" will appall many a parent. And who can forget the absurd lyrics of "Richard Hung Himself".

Most of the songs are under 2 but "Gemini", being the one exception, is a traditional Slayer song and kind of an introductory to the next album. The slow and mesmerizing finish comes as a blessing, to some, from the absolute chaos and fury of the album. The album’s one flaw is that either the songs Slayer picked are mediocre, or they had altered them too far beyond their original quality, so many of them ended up kind of poor. It’s good stuff but nothing that impressed me too much.

Bottom Line: Violent thrash-punk. Angry, distorted and short.

Rating: 7 out of 10

Review by Felix on November 25, 2021.

I think we all agree that Undisputed Attitude is Slayer's most exceptional album. Its concept is questionable. Even almost 20 years after the release, I am still slightly confused about the offering of 'Gemini', that does not fit into the scheme. It seems as if Slayer did not trust their own concept. Or - worse still - they wanted to create an additional purchase incentive at the expense of their integrity. "Yes, we want to cover raw and violent punk classics. But come on, let us at least take one new Slayer track so that everybody has to buy the album, if he wants to have a complete Slayer collection" - this was seemingly their train of thought. To add insult to injury, the slow-moving 'Gemini' stands in sharp contrast to the other songs and it does not reach the expected level of aggression and velocity. The solid but fairly weary composition fails to enrich the catalogue of Slayer sustainably.

Apart from this minor conventional flaw, the band cannot be blamed for half-heartedness. Slayer have internalized the spirit of the songs and they express it in a furious manner. An acoustic amok run reminds us that the fucked up universe also knows good extreme music which cannot be labelled as metal. I freely admit that the pretty harmless Ramones are the only punk band that I really love. By the way, their best track is 'Garden Of Serenity' from "Halfway To Sanity". But that is another story. I just want to say that I am no expert for punk music and I do not know the original tunes. This said, the here presented attacks have absolutely nothing in common with the musical approach of the forefathers of punk. The songs barrel along as if there is no tomorrow. Even if the band slows down the pace, the aura of stubborn resistance stays the same. Song titles such as 'Guilty Of Being White', 'Violent Pacification' or 'Richard Hung Himself' show impressively that Slayer know how to play the game of provocation. And I do not think that we have to discuss about these lyrics. From my point of view, they should not and cannot be taken seriously.

The adrenaline rush seems to be unstoppable. After having performed the first high velocity eruptions, the band does not get out of breath and the level of harshness remains unaffected. For example, 'Spiritual Law' is one of the most intense orgies of the album, although it has a mid-paced middle part. Furthermore, it is remarkable that this song, as well as the majority of the other tunes, considers the necessary amount of melody lines. The crude authors of the original versions knew their business. Compared with their working results, the two punk-influenced creations of Jeff Hanneman (R.I.P.) do not leave a lasting impression. To play punk songs means more than killing your instrument within 90 seconds.

Despite the forceful and mainly clean sound, the album transmits the crusty character of typical hardcore / punk eruptions. Tom Araya's vocal performance is an important component in this context. He sounds less demonic than on the regular albums. Instead, he seems to scream permanently "piss off", while using mysteriously other words for that friendly invitation. Anyway! Undisputed Attitude has its own charm. Enjoy slayerized punk anthems and don't give a damn about the political - or naive? - lyrics. This is punk! (As a marginal note: the second CD offers three live tracks, among other things a cover version of Venom. Nice, but unspectacular.)

Rating: 8 out of 10

Review by Luka on June 26, 2001.

I haven’t heard Slayer this pissed since "Reign in Blood"! I mean the force and ferocity of this album is unmatched. Slayer don’t cover these songs, they butcher them, doubling the tempos (often turning the normal pace into blast beats) and dropping the tuning to a death metal standard. The result is absolute chaos and a headbanger’s heaven.

It’s hard to get into at first, sometimes the riffs are sped up beyond recognition and so they end up sounding too distorted and fast to appreciate. It’s easy to lose interest in all the hurry. Araya’s screams are constant and he signs the funny punk lyrics with absolute anger, but the words are often indiscernible since he’s forced to sing them so fast, in fact, it’s fastest I’ve ever heard anyone sing!

"Can’t Stand You" and "Ddamm" (Drunk Drivers Against Mad Mothers) are two songs penned by Jeff Hanneman during the early years of Slayer, when he had plans for a punk side project. "Abolish Government..." is definitely my favorite, with the strong beat and the catchy riffs, the first song has some very nice riffs too, and the foul lyrics of "I’m Gonna Be Your God" will appall many a parent. And who can forget the absurd lyrics of "Richard Hung Himself".

Most of the songs are under 2 but "Gemini", being the one exception, is a traditional Slayer song and kind of an introductory to the next album. The slow and mesmerizing finish comes as a blessing, to some, from the absolute chaos and fury of the album. The album’s one flaw is that either the songs Slayer picked are mediocre, or they had altered them too far beyond their original quality, so many of them ended up kind of poor. It’s good stuff but nothing that impressed me too much.

Bottom Line: Violent thrash-punk. Angry, distorted and short.

Rating: 7 out of 10

Review by Yener on May 30, 2019.

Quo Vadis from Quebec, simply put, has all the elements of metal I absolutely love combined in one package. And to me, it’s this album and this album alone that made this band exceptionally special. Not to take anything away from

Defiant Imagination, but to me, this album just works a whole lot better in a lot more ways.

Bart Frydrychowicz is one of the best guitar players in metal, period. Not because of his technical wizardry, or his live performances. The reason is simple – the man knows how to write good songs. He knows how melodies and harmonies work, and he knows how and when to grab the listener. When to step on the brakes, and when to step on the gas. Just by listening to this album from start to finish once, only once, you’ll be able to see what a great composer this guy is. And that’s what it’s all about, composing. No one gives a shit on how many fast licks you can play. It’s the songs that people will remember.

Day Into Night is packed with awesome songs. Right from the get go, your senses are assaulted with the incredible “Absolution”, and it’s written so well that you don’t even realize that it’s nearly six minutes long. You want to know why you didn't notice? Because time flies when you’re having fun, folks.

The riffs and compositions on this album are so tasteful – why don’t people make albums like this anymore? Everything flows together so well, and the record is mixed and mastered to perfection. Everything can be heard clearly, and nothing dominates the mix. The drumming provided by Yanic Bercier is second to none, and I really mean that. He absolutely owns it behind the kit, and gives the songs the drive, dynamics and respect they deserve. Bass player Rémy Beauchamp provides the back bone, heard just enough to keep everything air lock tight, without being obnoxious, and working for the songs, as opposed to against them.

“Hunter/Killer” is one of the best tracks of the album, with an instantly memorable riff, and an even more memorable chorus riff. Seriously, this stuff is like sonic super glue which just sticks into your mind and doesn't want to leave. The guitar playing is just so tasteful and powerful, the note selection just right. It’s highly addictive, and each section flows into the other as it’s the easiest thing in the world. You can tell that the band (Bart) really thought about and took his time with these compositions. 

The album isn't just about speed and hyper melodies, though. The great thing about it is that it’s paced extremely well, with enough peaks and valleys to keep the listener interested. “Dream” is a fine example of this, though the band don’t ever stray too long from what they do best, and that comes up in the form of “On the Shores of Ithaka” 

I mean, seriously – this song is such a beast of a song it’s not even funny. I've been a metal fan for nearly 20 years now, and I don't get excited too easily about what I hear. But this song does it for me each and every time. From the earth-shattering intro, to the classy verse, and to the absolute mind fuck of gorgeous riffing in the chorus, this song to me is what defines Quo Vadis, and this album – absolute mastery of melody and harmony. Just the sheer speed of the chorus riff, and Bart’s tasteful harmonies over it is enough to make you nod your head in approval each and every time. Not to mention Yanic’s drumming is absolutely flawless, and combined with Bart’s tasteful melodies, it’s just earth-shattering amounts of awesome. 

Another highlight is the criminally perfect “Point of No Return – Mute Requiem” – I mean come on, even the title is enough to get you excited. Once again, the band lays those melodies and harmonies down with such conviction and brute force that you can do nothing but shake your head of how simply awesome it all sounds. That verse riff is absolutely nuts, and dare I say, beautiful. Or as beautiful as a melodic technical death metal band can be, anyway. 

In all honestly, I have never really paid attention to the lyrics on this album, or even to the vocals. Not that they are bad, but the music is just so damn good that I don’t even hear them anymore. I have to distinctly listen to them to notice them, and when I do, yeah, the vocals are just fine. They do not distract from the music, which is the most important thing. As expected, they are used more as an instrument than actual vocals, which I’m pretty certain was the desired effect for this album.

In conclusion, I would say that this album is a must have for any fan of melodic metal, or even technical death metal. I don’t know, it’s very hard to describe what Quo Vadis actually are. Not that it matters in the least, as I simply view them as a superb band who writes superb music. 

At the time of writing this, the band is on hold. Apparently, Bart has been working on new material for quite some time now, and I believe is in the process of getting the band together again. One can only hope, as Quo Vadis are, simply put, fucking amazing at what they do.

Rating: 9.5 out of 10

Review by Yener on May 30, 2019.

Quo Vadis from Quebec, simply put, has all the elements of metal I absolutely love combined in one package. And to me, it’s this album and this album alone that made this band exceptionally special. Not to take anything away from

Defiant Imagination, but to me, this album just works a whole lot better in a lot more ways.

Bart Frydrychowicz is one of the best guitar players in metal, period. Not because of his technical wizardry, or his live performances. The reason is simple – the man knows how to write good songs. He knows how melodies and harmonies work, and he knows how and when to grab the listener. When to step on the brakes, and when to step on the gas. Just by listening to this album from start to finish once, only once, you’ll be able to see what a great composer this guy is. And that’s what it’s all about, composing. No one gives a shit on how many fast licks you can play. It’s the songs that people will remember.

Day Into Night is packed with awesome songs. Right from the get go, your senses are assaulted with the incredible “Absolution”, and it’s written so well that you don’t even realize that it’s nearly six minutes long. You want to know why you didn't notice? Because time flies when you’re having fun, folks.

The riffs and compositions on this album are so tasteful – why don’t people make albums like this anymore? Everything flows together so well, and the record is mixed and mastered to perfection. Everything can be heard clearly, and nothing dominates the mix. The drumming provided by Yanic Bercier is second to none, and I really mean that. He absolutely owns it behind the kit, and gives the songs the drive, dynamics and respect they deserve. Bass player Rémy Beauchamp provides the back bone, heard just enough to keep everything air lock tight, without being obnoxious, and working for the songs, as opposed to against them.

“Hunter/Killer” is one of the best tracks of the album, with an instantly memorable riff, and an even more memorable chorus riff. Seriously, this stuff is like sonic super glue which just sticks into your mind and doesn't want to leave. The guitar playing is just so tasteful and powerful, the note selection just right. It’s highly addictive, and each section flows into the other as it’s the easiest thing in the world. You can tell that the band (Bart) really thought about and took his time with these compositions. 

The album isn't just about speed and hyper melodies, though. The great thing about it is that it’s paced extremely well, with enough peaks and valleys to keep the listener interested. “Dream” is a fine example of this, though the band don’t ever stray too long from what they do best, and that comes up in the form of “On the Shores of Ithaka” 

I mean, seriously – this song is such a beast of a song it’s not even funny. I've been a metal fan for nearly 20 years now, and I don't get excited too easily about what I hear. But this song does it for me each and every time. From the earth-shattering intro, to the classy verse, and to the absolute mind fuck of gorgeous riffing in the chorus, this song to me is what defines Quo Vadis, and this album – absolute mastery of melody and harmony. Just the sheer speed of the chorus riff, and Bart’s tasteful harmonies over it is enough to make you nod your head in approval each and every time. Not to mention Yanic’s drumming is absolutely flawless, and combined with Bart’s tasteful melodies, it’s just earth-shattering amounts of awesome. 

Another highlight is the criminally perfect “Point of No Return – Mute Requiem” – I mean come on, even the title is enough to get you excited. Once again, the band lays those melodies and harmonies down with such conviction and brute force that you can do nothing but shake your head of how simply awesome it all sounds. That verse riff is absolutely nuts, and dare I say, beautiful. Or as beautiful as a melodic technical death metal band can be, anyway. 

In all honestly, I have never really paid attention to the lyrics on this album, or even to the vocals. Not that they are bad, but the music is just so damn good that I don’t even hear them anymore. I have to distinctly listen to them to notice them, and when I do, yeah, the vocals are just fine. They do not distract from the music, which is the most important thing. As expected, they are used more as an instrument than actual vocals, which I’m pretty certain was the desired effect for this album.

In conclusion, I would say that this album is a must have for any fan of melodic metal, or even technical death metal. I don’t know, it’s very hard to describe what Quo Vadis actually are. Not that it matters in the least, as I simply view them as a superb band who writes superb music. 

At the time of writing this, the band is on hold. Apparently, Bart has been working on new material for quite some time now, and I believe is in the process of getting the band together again. One can only hope, as Quo Vadis are, simply put, fucking amazing at what they do.

Rating: 9.5 out of 10

Review by Yener on May 30, 2019.

Quo Vadis from Quebec, simply put, has all the elements of metal I absolutely love combined in one package. And to me, it’s this album and this album alone that made this band exceptionally special. Not to take anything away from

Defiant Imagination, but to me, this album just works a whole lot better in a lot more ways.

Bart Frydrychowicz is one of the best guitar players in metal, period. Not because of his technical wizardry, or his live performances. The reason is simple – the man knows how to write good songs. He knows how melodies and harmonies work, and he knows how and when to grab the listener. When to step on the brakes, and when to step on the gas. Just by listening to this album from start to finish once, only once, you’ll be able to see what a great composer this guy is. And that’s what it’s all about, composing. No one gives a shit on how many fast licks you can play. It’s the songs that people will remember.

Day Into Night is packed with awesome songs. Right from the get go, your senses are assaulted with the incredible “Absolution”, and it’s written so well that you don’t even realize that it’s nearly six minutes long. You want to know why you didn't notice? Because time flies when you’re having fun, folks.

The riffs and compositions on this album are so tasteful – why don’t people make albums like this anymore? Everything flows together so well, and the record is mixed and mastered to perfection. Everything can be heard clearly, and nothing dominates the mix. The drumming provided by Yanic Bercier is second to none, and I really mean that. He absolutely owns it behind the kit, and gives the songs the drive, dynamics and respect they deserve. Bass player Rémy Beauchamp provides the back bone, heard just enough to keep everything air lock tight, without being obnoxious, and working for the songs, as opposed to against them.

“Hunter/Killer” is one of the best tracks of the album, with an instantly memorable riff, and an even more memorable chorus riff. Seriously, this stuff is like sonic super glue which just sticks into your mind and doesn't want to leave. The guitar playing is just so tasteful and powerful, the note selection just right. It’s highly addictive, and each section flows into the other as it’s the easiest thing in the world. You can tell that the band (Bart) really thought about and took his time with these compositions. 

The album isn't just about speed and hyper melodies, though. The great thing about it is that it’s paced extremely well, with enough peaks and valleys to keep the listener interested. “Dream” is a fine example of this, though the band don’t ever stray too long from what they do best, and that comes up in the form of “On the Shores of Ithaka” 

I mean, seriously – this song is such a beast of a song it’s not even funny. I've been a metal fan for nearly 20 years now, and I don't get excited too easily about what I hear. But this song does it for me each and every time. From the earth-shattering intro, to the classy verse, and to the absolute mind fuck of gorgeous riffing in the chorus, this song to me is what defines Quo Vadis, and this album – absolute mastery of melody and harmony. Just the sheer speed of the chorus riff, and Bart’s tasteful harmonies over it is enough to make you nod your head in approval each and every time. Not to mention Yanic’s drumming is absolutely flawless, and combined with Bart’s tasteful melodies, it’s just earth-shattering amounts of awesome. 

Another highlight is the criminally perfect “Point of No Return – Mute Requiem” – I mean come on, even the title is enough to get you excited. Once again, the band lays those melodies and harmonies down with such conviction and brute force that you can do nothing but shake your head of how simply awesome it all sounds. That verse riff is absolutely nuts, and dare I say, beautiful. Or as beautiful as a melodic technical death metal band can be, anyway. 

In all honestly, I have never really paid attention to the lyrics on this album, or even to the vocals. Not that they are bad, but the music is just so damn good that I don’t even hear them anymore. I have to distinctly listen to them to notice them, and when I do, yeah, the vocals are just fine. They do not distract from the music, which is the most important thing. As expected, they are used more as an instrument than actual vocals, which I’m pretty certain was the desired effect for this album.

In conclusion, I would say that this album is a must have for any fan of melodic metal, or even technical death metal. I don’t know, it’s very hard to describe what Quo Vadis actually are. Not that it matters in the least, as I simply view them as a superb band who writes superb music. 

At the time of writing this, the band is on hold. Apparently, Bart has been working on new material for quite some time now, and I believe is in the process of getting the band together again. One can only hope, as Quo Vadis are, simply put, fucking amazing at what they do.

Rating: 9.5 out of 10