without Internet Explorer,
in 1280 x 960 resolution
If you’re going to get anything of value out of this album, the first thing you have to do it listen to the music, and that means filtering through the guitar tone and the blasting and trying to hear what’s being played. Headphones may help. Regardless, no more talk about how Nile is just random technical noise or chugging. Please, you’re embarrassing me.
It might be best to tune through the more blatantly Egyptian-sounding parts too, since they’re not the most important parts. Some of them are alright, some are a bit cheesy, but to tell the truth… not many people comment on this but the fact is… most of them seem to be sampled from The Exorcist II. Surely I’m not the only person who’s seen that movie more than once?
But what makes this a good album, as I alluded to above, is the music - the death metal music. Often compared to Suffocation or Morbid Angel, what it really reminds me is, oddly enough, Emperor, particularly around Anthems to the Welkin at Dusk, another album that tends to be worshiped or derided for ridiculous reasons. Aside from the atmospherics, the way they trade off between lengthy and amorphous (but melodic) tremolo attacks and more normal riffing somewhat more native to their styles seems similar to me.
Emperor were getting a little or a lot too pompous for their own good, but Nile have barbarity in place of pretension.
The songs are all short and do favor the “surprise!” transitions of newer technical death metal, but do have some sense of individual identity. Those Egyptian interludes help in that respect, but more importantly, the songs have beginnings, middles, and endings, even if they are abrupt.
I’d recommend this except that you bought it a week after getting into death metal anyway. Still, quit acting like you outgrew it when you got into more obscure bands, because whatever Eastern European tech death demo-level band you’re into these days, it’s probably not as good as this.