Nilotic Rites - Nile

Happy fans = happy bands

In general, it is the short tracks that work best on this album (do yourself a favor and listen to "Where is the Wrathful Sky"). The long compositions reminiscent too much about the guests, that lingers long after you have started to yawn in the couch. Nile manages to integrate the moods of eastern mysticism, so it sounds completely natural. And that combined with their impressive technical level and sense of cool riffs do, that the americans still appear more interesting than so much else death metal. Most Nile fans should be well satisfied with the Vile Nilotic Rites, which deserves the seven mummified skulls.

Death of the Nile

The u.s. dødsveteraner Nile has been around since 1993, and has since her debut in 1998 released a steady stream of albums. Work with the latest and now 9. shoots on the trunk, Vile Nilotic Rites, got a kickstart with two new members ' entrance in the old orchestra. The creative driving force behind the band is still guitarist Karl Sanders, and he backed continued by the eminent drummer George Kollias. But according to Sanders, this time in a much higher degree talk about teamwork from a unified band than there used to be. But you can so hear it in Vile Nilotic Rites? Let's find out!

A handbook of genocide and war

Nile have always been known for traditional, but technical, american death metal spiced with their unique mix of egyptology and H. P. Lovecraft. Just 20 seconds into the albumåbneren, "Long Shadows of Dread", it seems however not to have been made very much on the concept of full garbage from the start. Kollias' drumming is more manic/mechanical than even Meshuggah can do it, and they at once brutal and intricate riffs rumble forward as always. The song do – not just original, but very effective – use of the church bells, which sounds as if they are sampled directly from the "For Whom The Bell Tolls ", but recycling is so modern.

The wild technical level, the well-known insane pace, and not at least equally insane change of pace, continued on what must be the year so far, the most silly song title: "the Oxford Handbook of the Savage Genocidal Warfare" – but potentially exciting reading, it should be granted. Both the title and the song's often almost grotesque fluidity indicates that Nile performs their on the surface right (self-)celebratory death metal with a nice large twinkle in his eye. And thank you for it.

The title track contains the same brutal schizophrenia, but also offers an excellent groovy riff and rip-roaring solos, and this is probably the album's best cutting. The "Seven Horns Of War" set the pace in the beginning down a bit, but it is a job time limit, for the relentless riff attack continuing unabated. And it confirms the gradually the problem has always been with Nile: They are insanely talented, and even though they never quite fall into the tech death-trap (if you were to think it is a trap), then they will just too much with their songs. C-the piece on the "Seven" allows, for example, a little heavy and melodic variation, and all of a sudden there is almost operetta in the in the end of the number. We get even a rip-off of the Uruk-Hai theme from Lord of the Rings – why is not entirely clear. Nile when far at almost nine minutes, the number of goods, but less could definitely have done it.


>> Check the songs and lyrics here