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No matter where you choose to look to get an opinion, this band is spoken about in hyperbole, in absolutes and there’s a complete lack of perspective from most folks you’ll end up talking to. To get the most obvious rake out of the way: Nile isn’t remotely a “unique” or “trendsetting” death metal band in any shape or form. The band’s key members started out in Morriah, a late ‘80s low-key thrash metal formation based out of South Carolina, and it wasn’t until Morbid Angel frontman David Vincent introduced mainman Karl Sanders to death metal that the Nile concept actually came into fruition.

relapse-nile-600I’ll concede that Sanders found a niche, and along with Coffin Texts and that lone Nocturnus EP, they were certainly the earliest American practitioners of this particular combination. Before both of them German metal band Apophis paved the way for Egyptian flavored death metal dating as far back as the late 1980s. So, unique or pioneering Nile is most certainly not. Because, let’s be honest here for a minute, outside of the Egyptian segues/interludes and some of the melodies/scales, this band’s music is far from revolutionary. In fact there’s heavy plagiarizing from a number of significant death metal bands. Suffocation, Incantation, Immolation, Monstrosity and Morbid Angel are probably the most obvious at first glance. It’s true that Nile plays far faster and a good deal of more technical music than a number of these influential peers, but that don’t make them pioneers. No, that makes them competent. Nothing more.

This was a transitional record for this Greenville, South Carolina outfit as they had parted ways with vital key members of the last album’s line-up. It was the only album with this constellation. It was their third (of four records) for American independent label Relapse Records, and probably the one with their most potent line-up. It is also the only session to feature much in-demand Puerto-Rican percussion mercenary Tony Laureano, who had cut his teeth session work for the likes of Angelcorpse, Aurora Borealis and Malevolent Creation prior to landing this prestigious recording and touring offer. Karl Sanders (vocals, guitars) still leads the charge, along with his trusted partner Dallas Toler-Wade (vocals, guitars). Introduced on this record is local talent Jon Vesano (vocals, bass guitar) and his hulking presence is one of the strong suits of this record.

It is not hard to pinpoint exactly what makes “In Their Darkened Shrines” the most lauded title of Nile’s early catalogue. It is the transitional record in between the brutish, Incantation-on-speed earlier days and the more technically inclined later records that would follow in the wake of this album’s success. Where in the past the Egyptian soundscapes were largely relegated to intro/outro or instrumental segues, this record is the first to truly integrate them into Nile’s patented blasting fury. The band’s previously established three-way vocal interplay is also finally perfected here. On past records it was sometimes hard to tell everybody apart, but on here everybody has a distinct voice which when used in alternating verses leads to some pretty powerful results.

nile15On the roster we have vocalist/guitarist and main songwriter Karl Sanders, along with vocalist/guitarist Dallas Toler-Wade (who was introduced on “Black Seeds Of Vengeance” a few years earlier) and newly acquired vocalist/bassist Jon Vesano, who had some regional success with his black metal project Darkmoon. Rounding out the line-up for this record is Puerto-Rican percussion mercenary Tony Laureano who - despite the studio presence of one Derek Roddy for the previous record - due to his dutiful roadwork in support of “Black Seeds Of Vengeance”, was the one to land the much coveted drum position for this all-important third record. According to statements by Karl Sanders a few years ago this was also the first Nile album to have a recording budget worth mentioning, supposedly at least.

The first five tracks are what really define this album as a whole, and are often named as signature tracks for this session. The album starts off with ‘The Blessed Dead’, a savage and fittingly epic sounding opening cut that exhibits Nile’s newfound skill to seamlessly segue between high-speed death metal and atmospheric Egyptian interludes. ‘Execration Text’, one of two video tracks for this record, is a less than three minutes blaster that recalls the band’s first two records, but is far more open and technical all around. ‘Sarcophagus’, the second video track, is a slow burning somewhat doom oriented track that recalls “Blessed Are the Sick” era Morbid Angel in a number of ways. ‘Kheftiu Asar Butchiu’ is another fast cut with some incredible drumwork courtesy of Laureano, before finally giving way to “In Their Darkened Shrines” most lauded cut, the colossal ‘Unas, Slayer Of the Gods’. Three more tracks separate this epic cut from the gargantuan title track that is divided into four individual chapters, one of these being an instrumental mood-setting piece called ‘Halls Of Saurian Entombment’.

Everybody is at the top of their game with Sanders writing music that is both primal in its brutality, and sophisticated in composition and additional ethnic instrumentation. Toler-Wade gets a more prominent vocal spot, and his guitar playing and solo’ing is on the same level of skill as Sanders. Vesano’s throatier grunt plays off nicely against the raspier vocals of Toler-Wade and Sanders’ indecipherable grunt. Laureano seems to have found a perfect middle-ground between the blast-oriented style of Derek Roddy and the complex fills, rolls and cymbal work of former Immolation drummer Alex Hernandez. Figure into all this the incredible speed and precision with which all instruments are played and the breakneck pace of most of the material present here, and it becomes fairly easy to see why this album is so loved by many.

No expenses were spared in the presentation of this album. The cover artwork takes the concepts of “Black Seeds Of Vengeance” to its logical conclusion and the inlay and backcover are filled with Egyptian symbols and related imagery. The thick booklet is a fold-out with extensive liner notes for each song, the lyrics and production credits. As mentioned earlier two promotional videos were shot for this record by acclaimed director Darren Doane making this clearly a priority release for the label at the time of its release. Nile would record one more album with Relapse Records (and largely the same line-up) with “Annihilation Of the Wicked” – before signing with German conglomerate Nuclear Blast Records. This is the last truly vital Nile recording any reasonable metalfan should own. “Annihilation Of the Wicked” is cut largely from the same cloth, but it is not nearly as engrossing and compelling, nor as epic sounding as this record. For the next three records after this Nile would tone down the Egyptian instrumentation and atmospheric segues in favor for a more brutal and straightforward sound. I’m personally not that fond of this band’s catalogue post-“Annihilation Of the Wicked” as it eschews atmosphere for absurd levels of speed, density and/or technicality. The band would also venture into more melodic territory and drag out their songs too long for no discernable good reason after “Annihilation Of the Wicked”. As things stand, this the band’s magnum opus and their ultimate statement of intent.

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It is a difficult task to talk about a major band like Nile, and detail their shortcomings without rubbing long-time (or obedient? sycophantic?) fans the wrong way. These people tend to think in binaries and absolutes only, and every bit of criticism is met with hostility and anger. “Black Seeds Of Vengeance”, the band’s second record for Relapse Records, was their commercial breakthrough and the one that put them on the map internationally in terms of visibility and marketability. At a crossroads between the sound they had perfected through their demos and first album, and the growing technical expertise within the ranks, this album presents the band in a quandary. “Black Seeds Of Vengeance” would be the last record to feature original drummer Pete Hammoura, long-time vocalist/bass guitarist Chief Spires, and the first to include newly enrolled vocalist/guitarist Dallas Toler-Wade, who joined the ranks after the completion of “Amongst the Catacombs Of Nephren-Ka.”


Important to note is that Hammoura only played drums on one song for these sessions, namely ‘To Dream Of Ur’. Having severely damaged his arm during the North American tour in support of the preceding album, Derek Roddy was called upon to perform the studio sessions. Tony Laureano would step in for domestic and international roadwork. Anybody with a keen ear will hear the slight difference in production on the Hammoura cut and the remainder of songs for which Roddy laid down the drums. The songs were written with Hammoura’s style in mind, and one can’t help but notice Roddy’s influence over these tracks with his precise and tight delivery. This second album is denser, busier and more demanding than the debut album. It also is more atmospheric and complex.

Nile might have been at the forefront of innovation in terms of merging death metal with Egyptian segues, instrumentation and highly atmospheric interludes – their approach to death metal wasn’t exactly novel or brimming with original ideas. Far from it. The album picks up where “Amongst the Catacombs Of Nephren-Ka” left off, and piles more speed and technical playing upon it. Still Nile is merely retreading old, well-trodden grounds. Incantation, Monstrosity and Vader are most recognizable among the influences and techniques used, and the three-way vocal interaction excepted – this is album is hardly as innovating as many people make it out to be. I’ll concede that the high speed and level of technical skill to play this sort of material is awe-inspiring, demanding and requires a level of discipline and commitment that few will have, or can muster. That doesn’t change the fact that Nile wasn’t really doing anything of interest with the genre. This is meat-and-patatoes death metal played at ridiculous speeds and with three equally impressive vocalists. Thankfully, the songwriting saves the mediocrity of the style.

The title track is a trademark example of the band’s style. Combining the riffing of Incantation, with “In Dark Purity” era Monstrosity formatted song structure and a “De Profundis” era Vader level of energy and delivery, the band is able to wear its influences on its sleeves without being accused of outright stealing their decimating riffs, chord progressions, or overall presentation. The Egyptian segue during the chorus is highly satisfactory and the sparingness of its use only serves to magnify the atmospheric effect. Another thing that Nile always understood is the importance of leads/solos, and a track as ‘Defiling the Gates Of Ishtar’ proves that in spades. The leads and soloing push the song to its climax, and proves that Nile doesn’t need its most recognizable gimmick to be thoroughly effective. The use of choirs and additional instrumentation adds to the flavor, but people come to the band for high-speed death metal first, all the rest distant second.

‘The Black Flame’ is interesting for the sake of its ethnic chanted intro, and its ominous slow building opening passage that channeled Morbid Angel better than the real thing at the time of this record’s original release. This is followed by an instrumental track before giving way to the second signature track of this album, ‘Masturbating the War God’. Nile hadn’t changed all that much in the two years since the debut, because this track is a retread of the “Amongst the Catacombs…” style, just a bit faster, more evenly structured and with a better sense of pacing and melody. ‘Multitude Of Foes’, the writing debut for Toler-Wade, is a high mark for the record and his more technical, bouncing and busy writing style plays to the strengths of all involved. The song forms the basis for the next record, and Nile’s gradual change into a more technical, percussive and speed-oriented outfit. ‘Chapter For Transforming Into A Snake’ follows largely the same technique, but is more in the style of the preceding record. It is redeemed by grace of its absolutely stellar lead/solo. ‘To Dream Of Ur’, the only track to feature Pete Hammoura, has a different snare – and kickdrum sound (fuller, warmer) and displays what could have been had he not been injured, and thus forced to bow out the unit he co-founded.

For the first time artist Wes Benscoter was allowed to craft the cover artwork, and combined with the graphics and imagery provided by Adam Peterson “Black Seeds Of Vengeance” was the best looking Nile product up to that point. The recording at Sound Lab in South Carolina with producer Bob Moore results in a more balanced production job with additional levels of clarity and definition. The instrumental segues and ethnic instrumentation sound more roomy and far better realized this time around. On all fronts there has been significant progress made by all involved in this production. Nile had proved its worth with a second album this ambitious and wide in scope. It wouldn’t be until the next album that the band would be able to pull off this style convincingly and confidently. As a stepping-stone to greater things and better, more involved songwriting this record is the logical and connecting link of the band's early evolution out of their primitive roots. Despite the overall banality of the death metal aspect of this record, it is worthy of interest and purchase – and recommended to those who adore Nile’s earlier, more primitive take on their genre of choice.