At the Gate of Sethu, Nile’s 7th studio album, delivers with their trademark Egyptian style, pure Death Metal sound, and raw vocals.
Nile formed in 1993 in their hometown, Greenville, South Carolina. With their own record label and original line-up of Karl Sanders, Chief Spires, and Pete Hammoura, they released their first EP Festivals of Atonement (1995). The EP lead them to tour with bands such as Obituary and Deicide, and once their music had been exposed to much of the metal community, Visceral Productions released their second EP Ramses Bringer of War (1997). Shortly after, Relapse Records released their first full-length album Amongst the Catacombs of Nephren-Ka (1998), leading them to tour with bands such as Incantation and Morbid Angel. Black Seeds of Vengeance was then released in 2000, but prior to the release, Pete Hammoura left. Derek Roddy replaced Pete as a session musician and Dallas Toler-Wade was added as a second guitarist/vocalist just in time to finish their 2000 record.
However, Chief Spires left the band soon after, he was replaced by Jon Vesan; Tony Laureano also took place of Derek Roddy. With this new line-up, Nile put out the master piece In Their Darkened Shrines (2002) and 3 years later, released Annihilation of the Wicked with George Kollias on drums. Another line-up change took place after this record, Jon Vesano left and was temporarily replaced by Joe Payne for the following tour. Then in May of 2006, Nile signed with Nuclear Blast and released Ithyphallic (2007) which landed them on the Billboard 200 and multiple tours featuring Severe Torture, Grave, Warbringer, and more. Two years later Those Whom the Gods Detest was released and just one year after, Chris Lollis, who had been doing session work for four years, was confirmed as Nile’s permanent bassist. Due to unfortunate circumstances, Nile was forced to hire another bassist for their newest album and currently continues with the lineup of Karl Sanders, Dallas Toler-Wade, George Kollis, and Todd Ellis.
Commencing the album, Enduring The Eternal Molestation Of Flame builds anticipation, with an intro that reminds you of hell itself, before jumping into the rest of the track which is easily one of the best off of the album. The riffs and the drumming are completely frantic, but come together to create an incredibly unique and heavy track. The Fiends Who Come To Steal the Magick Of The Deceased follows suit with the first song, but to a slightly smaller degree. One of the most noticeable things in the beginning, is the high speed of the drums and guitar playing, which quite frankly, make it hard to believe it’s not a drum machine. As it progresses, you’re drawn in with the slower, droning vocals, as well as the more melodic vocals, which sound as disturbing as the lyrics that are being sung.
The third track, The Inevitable Degradation Of Flesh, hits with an alternating time signature, keeping the album alive. While When My Wrath is Done has a unique intro that leads into 3 minutes of heavy, melodic riffs and raw vocals. With the shortest song name on the album, Slaves Of Xul, marks the center album, with a slow, ominous track, that works it’s way into being menacing, and almost making you wonder if the citizens of ancient Egypt would have heard something similar, if they were to experience pure evil. Much like the 2nd track, the 7th track Natural Liberation Of Fear Through The Ritual Deception Of Death (which isn’t even the longest Nile song title to date) wastes no time ripping into a brutal assault of drums and guitar; that could make anyone who plays those instruments almost want to give up playing, after comparing their skills to those of George, Dallas, and Karl. There is no point in the song that lets up, instead, it provides the listener with an ear full of emphatic blast beats. The Gods Who Light Up The Sky At The Gate Of Sethu and Ethno-Musicological Cannibalisms both begin with intros that would be beautiful, if they weren’t foreboding and primitive. Tribunal Of The Dead has an almost suspenseful intro that is right for the song; the complexity of the instruments, deep growls, and coarse shrieks make for a powerful six minutes! Supreme Humanism Of Megalomania begins with a fast, clean riff that is repeated throughout the song, and makes the song so perfect, I attempted to listen to it instead of Six Feet Under…at a Six Feet Under concert making this one of my favorite tracks off of the album. The Chaining Of The Iniquitous is a perfect ‘outro’ for the album; epic, heavy, and similar to the rest, well-composed.
One of the best things about Nile is their consistency in album releases. There is not a moment where At The Gate Of Sethu doesn’t live up with Nile’s high standards, and after listening to it in full, I found myself walking away a bigger Nile fan. The album will be released on July 3rd in the USA through Nuclear Blast, and can be preordered here.
1. Enduring The Eternal Molestation Of Flame
2. The Fiends Who Come To Steal The Magick Of The Deceased
3. The Inevitable Degradation Of Flesh
4. When My Wrath Is Done
5. Slaves Of Xul
6. The Gods Who Light Up The Sky At The Gate Of Sethu
7. Natural Liberation Of Fear Through The Ritual Deception Of Death
8. Ethno-Musicological Cannibalisms
9. Tribunal Of The Dead
10. Supreme Humanism Of Megalomania
11. The Chaining Of The Iniquitous