Nile Albums (7)
'Those Whom the Gods Detest'
Release Date 11/3/2009
Tracks 10
Label Nuclear Blast
See Album Tracklist and Review
What The Critics Say
It's hard to not be impressed by the sheer sonic onslaught that is otherwise known as Nile. Except to the most hardened death metal fanatic, the genre has a way of sounding the same after a while, but Nile is one of the few exceptions -- able to put their own unmistakable fingerprints on this heavy duty style (Egyptian-influenced lyrics and musical bits, highly impressive instrumental dexterity, etc.). And on their sixth studio effort overall, 2009's Those Whom the Gods Detest, Nile has once again proven that they are a step ahead of the rest of the pack. Although some of the sonic depth has to be attributed to producer Neil Kernon (after all, he worked with such sticklers for audio perfection as Queensrÿche in the past), it's the true metallic fury that Nile create themselves that makes it all extremely impressive. Case in point, such delicious death metal ditties as "Kafir!," while on selections such as the title track and what's sure to be top metal song title of 2009, "Yezd Desert Ghul Ritual in the Abandoned Towers of Silence," Karl Sanders shows why he is considered by many to be the finest guitarist of the extreme metal genre (both songs incorporate Sanders' love of all things Middle Eastern). "Exotic" and "heavy metal" are not often terms used together, but in the case of Those Whom the Gods Detest, they go together as splendidly as peanut butter and jelly. ~ Greg Prato, All Music Guide
'Treasures from the Catacombs'
Release Date 7/10/2007
Tracks 13
Label Relapse
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What The Critics Say
By this point, anyone coming to a Nile record should know exactly what they're there for: assaultive death metal mixed with lyrics informed by Egyptian mythology and occasional interpolations of Middle Eastern folk melodies among the death growl vocals and blitzkrieg riffs. Treasures from the Catacombs is, in the best possible sense, pretty much exactly the same. Centered by the nearly 12-minute epic "Unas Slayer" (which starts with a lovely but foreboding acoustic instrumental rudely split in half by the barrage of grunts and blastbeat drums), Treasures from the Catacombs delivers the goods exactly as Nile's fans expect them to. Which of course also means that those who have been unmoved by the group's previous work won't find anything here to change their minds. ~ Stewart Mason, All Music Guide
'Annihilation of the Wicked'
Release Date 5/23/2005
Tracks 10
Label Relapse
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What The Critics Say
As time goes on, heavy metal continues to get more and more extreme. No, not the "stuff" you hear on the radio or see on MTV that tries to pass itself as metal, but the music that is bubbling under in the metal underground. Nile is one such band that continues to push metal's boundaries to the limits, as it does on its 2005 release Annihilation of the Wicked (produced by Neil Kernon of Queensrÿche fame). Obviously judging from its name and song titles, the group has a thing for Middle Eastern imagery, and the album starts off with sounds straight out of the desert, "Dusk Falls Upon the Temple of the Serpent on the Mount of Sunrise." But there is nothing that could possibly prepare you for what is lurking around the corner, as perhaps "a metallic head-on collision" is a fitting description for the machine gun-like "Cast Down the Heretic." Guitarist Karl Sanders continues to make a valid argument that he is one of the top guitarists of the extreme metal genre throughout the album, as he has no problem keeping pace with the rapid-fire drums. If you're not well versed with this style of metal, the songs on Annihilation of the Wicked may start to blend into one another after a while, but extreme metal fans will be writhing in ecstasy. ~ Greg Prato, All Music Guide
'In Their Darkened Shrines'
Release Date 8/20/2002
Tracks 12
Label Relapse
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What The Critics Say
Call it Discovery Channel metal if you must, but Nile runs circles around the majority of death metal acts that churn out cookie-cutter records crammed with juvenile gore-splattered lyrics and incomprehensible blastbeats. While their third full-length, In Their Darkened Shrines, finds these genre-leaders advancing their sound in minute increments from previous platters Amongst the Catacombs of Nephren-Ka and Black Seeds of Vengeance, all can be forgiven when taking into account Nile's staggering, well-researched thematic depth and impressive musicianship. Plus, like Black Seeds, the CD booklet details the weight of mastermind/guitarist, and unofficial Egyptologist Karl Sanders, which means the band's work captures the nastiness and pitch-black themes of death metal, while at the same time being a work of blood-soaked historical fiction inspired by H.P. Lovecraft and ancient hieroglyphic texts. And Shrines is an utterly convincing realization of Nile's passion and intelligence, incorporating jarring tempo changes -- from downtuned doom/sludge metal to concise hyper-blasts -- laser-precise riffing and guttural grindcore vocals into the bowel-twisting, and occasionally startlingly melodic, structures of "Sarcophagus," "Unas Slayer of Gods," and "Wind of Horus." But the album's crowning achievement is a four-part suite "In Their Darkened Shrines," a truly epic masterpiece in both concept and execution, seamlessly incorporating majestic, sweeping keyboards, chanting choirs, tribal drumming, and battle horns into the mix, with recurring melodic themes marking what is easily the band's most ambitious and effective composition to date -- a pseudo-symphonic death metal soundtrack that conjures up visions of tyranny, slavery, rebellion, and sacrifice to cruel gods. While other acts in the genre are content to create the musical equivalent of slasher flicks, Nile aspires to Lawrence of Arabia heights, essentially beating old tyrants Morbid Angel at their own game. In Their Darkened Shrines transports the listener into the shadows of the ancient pyramids many millennia ago, and explores the brutal psychology of the time as well, thus betraying a level of ambition to which very few bands in the genre aspire. Quite frankly, Nile is the death metal band of the '00s, and Shrines is, for all intents and purposes, a masterpiece. ~ John Serba, All Music Guide
'Black Seeds of Vengeance'
Release Date 9/5/2000
Tracks 12
Label Relapse
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What The Critics Say
If Black Seeds of Vengeance is any indication, the lost souls of Ancient Egypt are coming to destroy the living world. That may sound jestful to some, but Nile are dead serious. On their second full-length release, more low-end and further development of Egyptian thematics (exemplified in chanting and prayers) make for a tremendously dark and heavy statement. Creative themes and epic dynamics once again call Nile to attention; however, what really makes this album notable is its sheer negative force. Far from a slight, this means they have reached an enviable apex within the death metal realm. ~ Matthew Kantor, All Music Guide
'Amongst the Catacombs of Nephren-Ka'
Release Date 4/28/1998
Tracks 11
Label Relapse
See Album Tracklist and Review
What The Critics Say
Egyptian themes and imagery separate Nile from other death metal bands but their musicianship and creativity are what make them really stand out. Each composition on Amongst the Catacombs of Nephren-Ka feels like an encapsulated epic, brought about by skilled dynamics that never surrender Nile's unapologetic brutality. Adding to the epic feel is the group's bold decision to experiment with chanting, percussion, gongs, and flutes. These experiments are particularly potent when used to offset quiet and loud; the middle eastern flute placed against the hell summoning wall of sound on "Opening of the Mouth" is a fierce example. Amongst the Catacombs of Nephren-Ka is a stand-out death metal release, expanding the genre's scope but staying true to its extreme, blood soaked roots. This release is a must for long time death metal fans and an excellent place for new listeners to begin. ~ Matthew Kantor, All Music Guide
