Genre: Death Metal
Label: Nuclear Blast Records
Obviously, there are cases in Heavy and Death Metal that a throat switch or singer replacements, has worked. As well as there were water-borne effects and disasters. But here we are dealing with a special case by definition since its birth. Nile is not just a Death Metal band, that deals with Egyptian mythology and pharaonic doctrines. So it’s singer was not just a front man. Dallas’s voice didn’t really belong to him. The Pharaoh’s curse on crimes against the oppressed people found in the voice of the American singer a way out / redemption, as Nile River searches for a passage when it overflows.
So, replacing Dallas with three singers, Sanders, Paris and Kingsland comes with impetus and blessings from above. The roar is the same, the cries, the energy-filled sound attacks. Prudently operating and drawing strength from his past, Sanders takes a dive in the early years of the Nile, but don’t imagine any backlash or reluctant moves in a safe zone. Honoring its roots, imagine him taking a few steps back as if he were preparing for a big leap forwrd. In the rhythm section things are simple. You listener, you are the coyote and you run to grab the roadrunner, at some time you approach it, to remind you that the scene for the well-known Sander-ish reasons is set in ancient Egypt, and at that moment it just falls on your head, not an anvil as on the coyote’s head, but a whole pyramid. Simple as that.
The riffs come with a rapturous rhythm and a Morbid Angel and Suffocation-like style, a mysterious veil spreading with ambient elements and parts to haunt the album. In the ninth album, with twenty years on their backs and fifty-five minutes, it’s hard not to find people who will not grumble about individual issues. But the point is not to find the perfect album. Although technically the record is a songwriting masterclass and all the band members’ playing is just killer. The mid-tempo parts made me think / imagine, a slower record by Sanders, on the Doom / Death boundaries/limits, which although it would remove the momentum of the octopus looting us behind the drum kit, I still think it would unfold aspect of versatile talent both. But to get back to “Vile Nilotic Rites”, I think it doesn’t need any second thoughts and you have to invest in it, fearlessly. Personally, I chose “Seven Horns Of War”, “Revel In Their Suffering” and with its many tempo changes “The Imperishable Stars Are Sickened”.