Vile Nilotic Rites

The departure of Dallas Toler-Wade was jarring, as his mid-range, ranty yell had taken the position of the primary narrator. Far from a tool used to execute Karl’s visions, he made songwriting contributions to any release he played on. It seemed like the particular fit of talent and vision between the two Nile guitarists was something that could have never been fully replicated, and I started to question if Vile Nilotic Rites would be further regressing into the more derivative nature of their previous album. On top of that, how much more juice is Nile going to have on their ninth full-length? Karl was already 35 when the band’s first full-length came out. (As an aside, the man is definitely an inspiration for any late bloomers out there).

Fortunately, my doubts about Vile Nilotic Rites are amended quickly. Brian Kinglsand fills Toler-Wade’s shoes and then some, injecting a dose of coherence and groove into the mind-numbing speed and fretboard runs. He has songwriting credits on half of the album’s tracks, but his presence can be felt on every riff, especially because he has much more bite and punch in his mid-ranged rasp. Even though Nile is going through similar ideas that they did on What Should not Be Unearthed, they’re approaching them with the added fresh perspective of someone who’s been a fan of the band for years. When Nile obliterates you with a fast riff, you actually get the sense it’s going somewhere, and when the grooves come in, they actually crush you. One benefit of smoothing out some of the more explorative songwriting is that death metal comes first, which is when it’s the most effective. The Egyptian themes and influences tend to come out as a natural product of their note selection anyways.

The injection of youthful vitality that Kingsland brings goes a long way towards the potency of the more midpaced work. Nile, to me, has always been a band that excels with speed and stumbles during the boring slow parts, but the more sparse moments of songs like “Seven Horns of War” manage to sustain interest - and Karl is credited with the songwriting for that one, so the only real difference is the lineup change. This album also does a good job of distributing the newer ideas and influences throughout the album - you can hear where Kingsland had input on a riff because it’s usually more rooted in a Suffocation-styled type of snaking brutal death. Funny that I would make a Suffocation comparison, as I very much see Vile Nilotic Rites as the ...of the Dark Light of Suffocation’s discography - band alters the core of their lineup and the new guys rejuvenate the band, having them sounding the most potent and engaging they’ve been in a decade. The one-two punch of “Snake Pit Mating Frenzy” and “Revel in their Suffering” holds its own with the best moments in Nile’s discography.

Time has also given Nile the benefit of knowing how to better integrate their influences. I hear a lot of the blistering, At the Gate of Sethu-type technicality with the warm, resonant production of Those Whom the Gods Detest. I even hear flashes of their debut album in the fact that the riffs aren’t afraid to flash their more conventional death metal influences, and because the ambient isn’t afraid to be a little bit cheesy to get the vibe across. Vile Nilotic Rites breathes new life into the band, and after Unearthed was a bit of a whiff, it feels like their true renaissance.

That being said, this thing didn’t need to be 55 goddamn minutes! I swear, Nile could remove the last track off of all of their albums and no one would notice or care. They have music with a lot of stuff in it, and although the final tracks do offer some slower marching numbers to wind things down a little bit, their overlong nature gives the impression they’re unnecessary padding. In the grand scheme of things, though, it’s not a big deal - you can just skip those tracks if you really don’t like them, and it doesn’t detract from the fact that it’s incredibly rare to see a band’s ninth album be one of the most spirited and punishing releases in their career.

From the very beginning of its existence the South Carolina based band Nile emerged as one of the most impressive death metal projects. During the last decades we have seen tons of bands which play a technically infused death metal, but only a few have managed to achieve a truly inspired balance between brutally and technicality. Nile has been one of those. Moreover, this band forged a very particular style, where atmosphere has always been a key element of its sound. The singer and guitar player Karl Sanders, inspired by the tales of ancient Egypt's dynasties decided to found Nile, mixing the most brutal death you can imagine with this interesting historical approach. Anyway, what makes Nile even more interesting where not only the lyrics, but the fact that the band has successfully combined in their compositions the expected death metal essence with very particular melodies and structures. Thanks to this, the band’s compositions irremediably evoke the enormous pyramids, the pharaohs and the deserts of Egypt. This is what has made Nile a very especial and interesting band. From the rawer and more straightforward, yet still epic, debut entitled Amongst the Catacombs of Nephren-Ka to the classic masterpieces Black Seeds of Vengeance and In their Darkened Shrines, my personal favourite, Nile successfully evolved refining its sound and reaching an outstanding balance between aggressiveness, technical complexity and atmospheric glory. With the successive releases the band still kept an impressive level, though I personally considered that albums like Annihilation of the Wicked and At the Gate of Sethu sounded a little bit unbalanced, as the first one was too focused on Nile’s brutal side and the latter one, too technical and with a too clean production, making the album lack some passion.

Nile, as other bands, has suffered several line-up changes, leaving Karl Sanders the only original member who remains in the band. The last big change happened in 2017, with the departure of the singer and guitar player Dallas Toler-Wade, who had been a key member in the band's development. His departure was a shame, but it seemed that Nile needed some fresh flood to renew the band's sound. As a replacement Brian Kingsland came to take the duties of the vocals and the second guitar. This was an important change and the whole scene was excited to see if Nile was capable of returning with a truly worthy album. Vile Nilotic Rites was the name of the new beast, being released in the fall of 2019. From the very first listen I can fortunately say that the band sounds reinvigorated with the new member and its compositions sound inspired and fresh. Vile Nilotic Rites is by no means a departure of Nile’s trademark sound. The easily recognizable deep growls, complex riffs and drum patterns and the ancient atmosphere are still there, but with a rejuvenated spirit.

As it has happened in most of their albums this opus can be divided in shorter and more straightforward tracks and the longest compositions, where atmosphere and majesty have a stronger role. The album opener ‘Long Shadows of Dread’ is a fine example of the first one, while it still keeps those masterful transitions between the speediest and ultra-technical sections and the slower sections, with those remarkably heavy and rhythmic riffs. This is important to mention, because riff wise the album sounds like the Nile we know and love, though some structures and guitars may have a slightly different touch, these are perhaps influences brought by the new member Brian. Still, the marginally new riff schemes are adequately integrated in the more classic guitar structures, not sounding out of place.

Vocally, Nile sounds are brutal as ever, Brian delivers when he takes the main vocal role with very solid grows, and fortunately Karl still performs his trademark ultra-low growls, which makes me happy as I couldn´t imagine Nile without his vocals. As mentioned, we can find a bunch of longer songs, where Nile sounds especially inspired as it has a greater room to introduce a wider range of structures, paces and a stronger atmosphere. ‘Seven Horns of War' is the first one of those longer songs and it indeed sounds impressive. The arrangements are truly epic and even cinematic. There is a certain arrangement which, funnily, has reminded me one of the most epic battles in the Lord of the Rings trilogy. In my humble opinion Nile sounds truly unique when the band adds some atmospheric arrangements, which make the lyrical concept behind the songs, even more real. One of the strongest points of this album is that we can enjoy a bunch of those songs, particularly in the last part of the album, where songs like the awesome ‘The Imperishable Stars are Sickened’ and the excellent album closer ‘We are Cursed’ shine. Both songs have excellent riffs, dark and mysterious introductions and a captivating ambience. Fast Nile may be a destroying force, but the slowest Nile is equally smashing and incredibly hypnotic. Vile Nilotic Rites is definitively a rich album in terms of guitar riffs richness and probably the most generous album regarding the varied and always tastefully placed acoustic and ambient arrangements. This is a good step in the right direction as the last albums probably were too austere in this regard.

In conclusion, Vile Nilotic Rites can be defined as a glorious return for Nile. The band sounds fresh and ready to continue dominating the scene with its unmatched mixture of brutally, complexity and grandeur. This work is indeed a must for every fan of Nile and extreme metal.

Originally written for "www.metalbite.com".

I can confidently say it's the best Nile album since 2007's Ithyphallic just a few steps below. Not quite up to par with Annihilation of the Wicked (which is one of the best death metal albums of all time), but is comparable to Black Seeds of Vengeance and In Their Darkened Shrines as far as quality writing goes. And don't worry, there's plenty of old-world I instrumentation. This album did add some almost cinematic theatrics this time around.

Their last three albums, really lost my interest with lackluster writing. That's a decade of music I didn't care much for. The songs mostly sounded the same with just constant Nile-esque tones and playstyle. It seemed like a collection of b-sides from previous albums. Unabashedly Nile, but boring. In other words, I was expecting nothing from this album. Imagine my surprise when I get a treat of such unique and separable songs from a band I had started to ignore after three strikes in a row! The writing is top notch with such memorable moments as the insane and eerie clean vocals in "Seven Horns of War", the bit at 0:25 on "The Oxford Handbook of Savage Genocidal Warfare", or the unhinged vocals on "Snake Pit Mating Frenzy". That song is particular shows that this a band that has stayed true to their roots but are ready to bring something new to the table. Did the new members have any play in this? Maybe it's a coincidence. All of these and more offer a new side of Nile not seen prior. I love this album and am excited what they write next.

There are some awesome new elements from the band in the vocal department! Yes, there's the normal vocals Karl uses but even those he employs in new ways. The aforementioned "Snake Pit Mating Frenzy" has some vocals from Sanders that evoke such mania and anger. There are some new tricks tried on "We are Cursed". "The Imperishable Stars are Sickened" is another great experimental vocal track from the band. There's an anxious buildup to the verse that even though I know where it ends up I still enjoy the trip. There are quite a few moments from Karl that among his best work using his classic sound. There are operatic and almost cinematic moments on "Seven Horns of War" and "The Imperishable Stars are Sickened" that I've not heard from the band. Neither section seems like they're trying to get more fans via clean singing. I don't feel this is the case often, but here it seems genuine.

The guitars are outstanding! You know, like Nile. Even on their albums I don't care for much, there is always reliably intricate and impressive guitars to savor. Be it the blistering rhythm or the filigree lead. The first great rhythm guitar moment is at 1:58 on "The Oxford Handbook of Savage Genocidal Warfare". That section and the one after is the guitar playing at a different game than what we're used to. The tones the rhythm uses at 0:11 is classic Nile and I love way they make bending notes a part of the core riff rather than just some flair to start or end a lead lick. 06:16 on "The Imperishable Stars are Sickened" has this and is consequently ranks among one of their heaviest moments ever. The leads are tasty as ever! "That Which is Forbidden" is mostly forgettable but the leads will make you come to what is clearly the weakest track. That one or "Revel in Their Suffering". Even the first song has great leads and a tasty solo to. The aforementioned "The Imperishable Starts are Sickened" has an almost black metal lead section near the end of the track. I like seeing more sides to Nile than the last 3 albums led on.

The almighty George Kollias is back! I get excited for everything he does. Even though I didn't like the last 3 Nile albums, the drums were always a treat. My buddy and I when we were 16 were so proud to show this drummer to my buddy's dad who is a huge music buff (not really metal). We had found the holy grail of drumming! Of course he liked and respected it but his one criticism was that there wasn't all that much variation... It shook out frail 16 year old sensibilities. I can never shake that thought now, so I always get extra excited when George infuses Drum time signatures play on "That Which is Forbidden"

It does have a little bit for everyone. You want a slow jam? "Vile Nilotic Rites". You want an epic death metal opus? "Seven Horns of War". You want a maniacal frenzy? "Snake Pit Mating Frenzy". Unforgettable lead? "That Which is Forbidden". You need an Egyptian instrumental that could very well be part of a soundtrack to a film? "Thus Sayeth the Parasites of the Mind". All with a slick and tight production that is essential to appreciate such intricate work from these masters.

Favorite tracks:
-The Oxford Handbook of Savage Genocidal Warfare
-Snake Pit Mating Frenzy
-Seven Horns of War
-The Imperishable Stars are Sickened

Technical skill: 97% Originality: 89% Song writing: 88% Production: 95%

Nile are easily one of the biggest names in the death metal scene. They create music so strictly dedicated to one subject while embracing technicality and brutality to the point that anything they release is gonna be recognizable. Karl Sanders takes music writing to the next level, and while most of the time that helped him out, it can at times seem so loaded-up that it’s almost robotic. At least every Nile album offers something slightly different, and the newest one Vile Nilotic Rites is one hell of a disc to dissect.

It should come as no surprise that this is a very long effort (clocking in around fifty-five minutes), and you cannot go into it with the wrong mindset or incorrect setting. Don’t take that the wrong way, my favorite Nile record, 2009′s Those Whom The Gods Detest is similar in that merit. It’s super long and a lot to follow. The difference is that Vile Nilotic Rites is just a bit too compact for its own good, even though the layout is less webbed, and the songs almost read like a poem when read in order (seriously, read the tracklisting out loud). However, once you’re over the density of it, you’ll find it to be serviceable and strong in construction.

For starters, the second half is dominated by three epics, the final three numbers. Two of the three are magnificent. “Where Is The Wrathful Sky” uses storming effects before trading off guitar tracks over blitzing drums that soon introduce a frenzy of speed-picking. Sanders’ signature drawn-out vocals take charge, and it’s also full of stomping bridges and lashing percussion clashes. “The Imperishable Stars Are Sickened” then injects a healthy dose of terror, being dense with wailing guitars.

This is where needing to pay attention and being in the mood comes in, because it all gets very overbearing. I mean it when I say zoning out for even a few minutes will have drastic effects, because it happened to me during a couple of the earlier tracks. You’ll wind up coming back to it, not sure what just happened, and I chalk this up to the earlier songs being a bit empty in memorability as compared to those later epics. Had those contained less high-standing moments, it could have been fatal. Opener “Long Shadows Of Dread” is an intriguing number, pumped full of whipping effects and chants, but the few following don’t hold up to it. This song’s style returns when we get to “Revel In Their Suffering,” capturing that same aura of an underground worshiping temple, roughly midway through.

Vile Nilotic Rites is all over the place as is with some great spots, some not as great spots, and lots to take in. The center is where the prettiest jewels can be found, though. Back to back tracks “That Which Is Forbidden” and “Snake Pit Mating Frenzy” unfold very pleasantly. Concise solos that jump out of the mix dominate them, all while being weaved into classic death metal chugs. The rhythm patterns also reach some of the greatest levels of technicality without overdoing anything and feeling robotic, like I mentioned earlier.

But in reality, I couldn’t say that this needs trimming simply because as tiresome as it can get, all parts are needed to complete the assembly. You still get your interludes invoking Egyptian instrumentation, you still get your over-the-top technicality, all complete with a taste of brutality and traces of hooks. Three epics at the end was a bit ballsy, but two of them certainly deliver. I’d like to say this is the greatest Nile album since Detest, but it’s also been a while since I’ve listened to Sethu or Unearthed. Give this a spin, and then give it another spin later on.

Originally written for Indy Metal Vault

Nile's past three albums have shown an interesting trend.
While "Those Whom The Gods Detest" received favourable reviews "At The Gates Of Sethu" was criticised for being too experimental and technical for technicality's sake. "What Should Not Be Unearthed" was then seen as a "safe bet," a return to what Nile was good at and ended up sounding very very similar to "Those Whom The Gods Detest."

The question for their 2019 release was: Would they continue with the same formula or take another risk and try something new? As often the answer lies somewhere in the middle: "Vile Nilotic Rites" is Nile's heaviest and most brutal release yet. Far from sticking with exactly what they've grown comfortable with, they've evolved their sound to be more threatening, more extreme and a lot deeper than ever before.

The most obvious change is in lineup with new guitarist Brian Kingsland taking on the role of the main vocalist. His voice is a lot less growling and quite a bit more screeching than that of Dallas Toler-Wade, long-time lead vocalist of Nile. This results in a sound that immediately feels fresh and brings a particular flavour to Nile that the band has never had before.

While on the topic of vocals let's talk about Karl Sanders who, even at 56 years old, still doesn't show a single sign of wear and tear. Somehow he has only gotten more polished and brutal in his signature guttural growls in the four years since "What Should Not Be Unearthed."

The guitars are still unmistakeably Nile. Insanely fast ithyphallic riffs dominate almost every instrumental section of almost every song on the album, just like one would find on every Nile release of every era. The critical change is that this album leans a lot more towards utilizing breakdowns and heavier riffs during vocal sections than previous releases.

On top of that, the bass now seems to play a bigger role than previously. Though it is still almost impossible to make out the bassline in any given song, its presence is felt more strongly as the sound as a whole is deeper and darker than ever before. All of this results in many a moment when suddenly, after some classic Nile-Style riffs or solos, a breakdown comes out of nowhere and hits you in the face like a freight train.

But what really makes the sound more impressive and more complete is the use of samples. They seem better and more seamlessly integrated than on any other Nile album ever. Some tracks are constantly underlined with epic effects and of course, there are still those "calm-before-the-storm" moments when a quiet melody signals the arrival of a massive breakdown.

This also seems like the correct point to mention the track "Seven Horns Of War" which uses musical quotes from the soundtracks of Godzilla and Lord of The Rings to create a sound that can only be described as the epic fusion of Nile and late 90's Septicflesh.

"Vile Nilotic Rites" is my favourite Nile album yet. Not only did it give me one of my new favourite tech-death songs in "Seven Horns Of War" but it feels unique not just in the field of technical death metal but even amongst Nile's own discography which is not what I expected after "What Should Not Be Unearthed" was so similar to most of their previous albums. My release of the year in 2019 thus far.

Some bands stick to what they know, others will seemingly reinvent themselves with each new studio effort, but South Carolina’s inhabitants of little Egypt dubbed Nile came to their place in the pantheon of American brutality by a rather unique third path. Multi-instrumentalist and mastermind Karl Sanders, arguably death metal’s earliest Egyptologist of sorts, originally cut his teeth with a thrash metal project dubbed Morriah in the mid-1980s and occasionally found himself sharing a stage with the likes of Morbid Angel before the end of said decade. Even as the earliest incarnation of Nile took shape in the mid-90s, there was still a remnant of this old school thrash sound to be found in their earliest demo material, though the past association with the Florida death scene would find this outfit adopting a form of sonic brutality and technical madness that would take them about as far away from old school death/thrash as one could get within the death metal paradigm, eventually showcasing a greater affinity for the viler and more violent sound of the New York scene.

In a necrotic nutshell, the character of sound that has come to define this outfit’s brand of death metal bears a heavy affinity for the flashy, aggressive brand of blast-happy madness that one would expect from Suffocation or Dying Fetus. This naturally results in an array of virtuosic elements from the guitar playing to the rhythm section that dovetails with a deep, guttural vocal performance that’s a tad more inhuman than the signature sound of Chris Barnes, but also a bit more dynamic in range than the deep and morbid character of Frank Mullen’s signature barks. All of this, nevertheless, falls pretty squarely into textbook territory for a typical American band merging the brutal and technical excess of the style, thus the unique character of sound that Nile exhibits comes into play via a vernacular set of influences befitting the band’s namesake. Instead of being a wholly atonal affair in line with Suffocation or Cannibal Corpse, there is a Middle Eastern/North African vibe to the harmonic scheme of this music, one that is present both in the quasi-theatrical symphonic and ambient additives surrounding these songs as well as the brutal riffing and blasting segments themselves.

While the resulting sound of this band’s unique blend of influences is highly unique, their employment of this stylistic niche over the past couple decades has largely been an exercise in military-like precision, resulting in albums that tend to run together in a series of sorts. In light of this, the only real evolutionary process that has emerged from this band’s 1998 debut LP Amongst The Catacombs Of Nephren-Ra up until the present has been a growing degree of brutality and modernity due to updated studio technology. As such, their latest and ninth studio effort Vile Nilotic Rites finds itself in the similar, almost Behemoth-like brand of auditory violence that sounds half like a death metal album, and half like the soundtrack of a horrific version of the film Stargate or some other film set on the southern or eastern end of the Mediterranean. Being the sole founding member still in the fold, Karl Sanders’ vocal presence and songwriting is the dominant feature, though one would be remiss to downplay the machine-gun precision of drummer George Kollias or the fancy six-string work of Brian Kingsland.

In terms of strengths and weaknesses, Nile is a band that has generally functioned on a dual path of short, concentrated doses of sonic adrenaline versus drawn out, more stylistically eclectic offerings that lean into a more theatrical/mystical vain, so it tends to be a subjective process in picking a favorite. For those who prefer their brutality in a compact package that mirrors the sort of all violence, all the time mode displayed by Dying Fetus, there are some truly colossal offerings in “Oxford Handbook Of Savage Genocidal Warfare” and “Snake Pit Mating Frenzy” that tone down the Egyptian folksy elements for something that can trade blows with any New York-based outfit. On the other side of the spectrum shines some truly astounding diamonds of ambitious and epic songwriting in “Seven Horns Of War” and “The Imperishable Stars Are Sickened” that take elements of that same aforementioned brutality and tempers it with elements of symphonic bombast, Eastern mystique and a more controlled groove to take the listener on a truly harrowing journey.

It may seem a cliché given that most bands tend to play to a specific target audience in the same manner, but when it comes to Nile, liking one of their albums tends to result in liking everything they put out. Relative to previous outings, this album goes a bit heavier on the elongated musical storytelling and even features a full blown move into emulation of ancient Egyptian music by Karl Sanders on the short instrumental “Thus Sayeth The Parasites Of The Mind” where he takes up an Eastern plucked-string instrument and fashions a virtual orchestra around it that results in something that could pass for a Hollywood film score. It’s not something that Nile hasn’t done before, though the way that it strikes the ears this time around is all the more compelling given the ongoing advances in recording studio tech. In essence, this is an album that sticks to what works, and though it may rope in a few newcomers that have already taken the plunge with Behemoth or Fleshgod Apocalypse, but otherwise is tailor made for existing fans. Nevertheless, a truly solid offering for those who like their death metal steeped in technical flair and symphonic largess.

Originally written for Sonic Perspectives (www.sonicperspectives.com)

Just take a second to think about how amazing Nile is. How many death metal bands have been on the scene as long as Nile that have managed to stay interesting like they have the whole time? For more than 20 years, everyone’s favorite honorary Egyptologists have been bringing a cinematic grandeur and middle eastern flavor to their music, thereby liberating it from the overly mechanical sensibilities that hobble so many of their technical death metal contemporaries, tweaking their chosen elements enough to keep them from getting stale. Vile Nilotic Rites, the band’s latest, is a continuation of this noble tradition, boasting their most seamless and compelling blend of tech death mastery and dark, middle eastern atmosphere in a decade.

Nile’s ninth album finds the band building its mighty pyramid atop a landscape where the massive, intense, and technical slam headlong into a dark grandiosity that conjures mental images of an ancient Egyptian world under the control of evil gods. And that involves a carefully calculated mix of tech death virtuosity and slower riffs that crunch along with apocalyptic furor. Sure, there are dazzling arpeggiated sequences and rapid fire drumkit abuse in 'Long Shadows of Dread' and 'Revel in Their Suffering,' among others, but the album continuously comes back around to slower, truly monstrous riffs that are often accompanied by orchestrated background chants and/or demonic howls that make the whole thing feel more cinematic. And the lengthier songs on the album really take the time they need to build up the illusion and make the whole thing even more gigantic. Just listen to the epic orchestration at the start of 'Seven Horns of War' or the mix of sinister keyboard swells and ominous chanting near the song’s midpoint and try not to picture the high priest of Set summoning his god from the bowels of an ancient pyramid so large it blots out the sun.

The band should also be commended for the way it melds several different musical flavors together to create a Neapolitan of fury and dread that Apep, the ancient Egyptian serpent god that sought to slay Ra every night, would appreciate. Vile Nilotic Rites contains a multitude of blistering hyperspeed sandstorms, slow progressions reminiscent of doom metal, and bits of spooky ambience and blends them seamlessly together. The midsection of the aforementioned 'Seven Horns of War' is a great example of this, combining a militaristic drum march with weird, beastly chants and ominous warhorns in the background to create an atmosphere of dread, though it’s far from the only example of this kind of ambience on the album.

The only songs here that don’t have some kind of soft-heavy or fast-slow dynamic are 'Thus Sayeth the Parasites of the Mind' and the awesomely named 'Snake Pit Mating Frenzy' (rest assured that I will be eagerly reading band leader Karl Sanders’ liner notes for that song as soon as I can). The former is almost a minute and 45 seconds of acoustic middle eastern music with some percussion and ghostly ululations in the second half to augment the spookiness. The latter is a shining example of Nile at its most technical: a short blitzkrieg of intricate riffs, George Kollias’ machine gun drumming, and over-the-top solos.

Speaking of solos, the guitarwork is much saucier this time around than it’s been in a great long while (or perhaps ever), with new guitarist Brian Kingsland bringing a shot of youthful energy to the mix. Roughly a third of 'Long Shadows of Dread' is made up of some of the tastiest solos of Nile’s career, though the title track and 'The Imperishable Stars are Sickened' also pack some especially savory licks. This is ultimately a small part of the album, but it’s enough to make the whole experience a bit more lively and distinct without detracting from the oppressive atmosphere the band worked so hard to cultivate in the studio.

Among Nile’s more recent offerings, Vile Nilotic Rites stands out. The songwriting here isn’t as memorable as it was on Those Whom The Gods Detest, which is quite possibly the catchiest tech death album of all time, but it does stand above the band’s last two full-lengths. For this release, Nile was more focused on atmosphere than usual and the band’s efforts paid off, resulting in an album that’s certainly not the best in their storied catalog but transports you to a blood-drenched, ancient world more effectively than anything they’ve done since In Their Darkened Shrines.

Originally written for the Metal Observer