NILE

Technical Death Metal / Brutal Death Metal / Death Metal • United States
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Nile is a technical death metal band from USA. They formed in their hometown of Greenville, SC, in 1993, combine extreme speed and brutality of modern death metal with the ancient styling of Middle Eastern music.

With their self-proclaimed trademark of "Ithyphallic Metal", Karl Sanders (guitar/vocals), Chief Spires (bass/vocals), and Pete Hammoura(drums) debuted with their Festivals of Atonement album in 1995, leading Nile to a southwestern tour in support of other big metal acts such as Obituary, Deicide and Broken Hope.

Viscera Productions was responsible for Nile's follow-up EP "Ramses Bringer of War" in 1997 and was going to release their second album "Amongst the Catacombs of Nephren-Ka", if they hadn't gone out of business later that year.

However, Relapse Records was more than happy to put it out in early 1998, giving Nile a wider distribution and a chance to hit the road with Incantation and Morbid
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Watoto From the Nile - Chosen One [New CD] Watoto From the Nile - Chosen One [New CD] USD $12.90 Buy It Now 22h
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 NILE ROGERS LE FREAK AUDIO CD NILE ROGERS LE FREAK AUDIO CD USD $10.04 Buy It Now 1 day
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THE BLUE NILE 'Hats' Vinyl LP On Linn Records. - C40 THE BLUE NILE 'Hats' Vinyl LP On Linn Records. - C40 USD $15.98 (3 bids)
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GRACE JONES Inside Story Orig '86 MANHATTAN Mint Sealed Vinyl LP Nile Rodgers GRACE JONES Inside Story Orig '86 MANHATTAN Mint Sealed Vinyl LP Nile Rodgers USD $19.99 Buy It Now 1 day
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NILE Discography

NILE albums / top albums

NILE Amongst the Catacombs of Nephren-Ka album cover 4.06 | 29 ratings
Amongst the Catacombs of Nephren-Ka
Brutal Death Metal 1998
NILE Black Seeds of Vengeance album cover 3.85 | 24 ratings
Black Seeds of Vengeance
Brutal Death Metal 2000
NILE In Their Darkened Shrines album cover 4.14 | 26 ratings
In Their Darkened Shrines
Technical Death Metal 2002
NILE Annihilation of the Wicked album cover 4.22 | 38 ratings
Annihilation of the Wicked
Technical Death Metal 2005
NILE Ithyphallic album cover 3.62 | 29 ratings
Ithyphallic
Technical Death Metal 2007
NILE Those Whom the Gods Detest album cover 4.23 | 30 ratings
Those Whom the Gods Detest
Technical Death Metal 2009
NILE At the Gate of Sethu album cover 3.79 | 17 ratings
At the Gate of Sethu
Technical Death Metal 2012
NILE What Should Not be Unearthed album cover 4.58 | 11 ratings
What Should Not be Unearthed
Technical Death Metal 2015

NILE EPs & splits

NILE Festivals of Atonement album cover 3.50 | 1 ratings
Festivals of Atonement
Death Metal 1995
NILE Promo Sampler 2007 album cover 0.00 | 0 ratings
Promo Sampler 2007
Technical Death Metal 2007
NILE Nile / Vader album cover 0.00 | 0 ratings
Nile / Vader
Technical Death Metal 2009

NILE live albums

NILE demos, promos, fans club and other releases (no bootlegs)

NILE Nile album cover 0.00 | 0 ratings
Nile
Death Metal 1994
NILE Ramses Bringer of War album cover 3.50 | 1 ratings
Ramses Bringer of War
Brutal Death Metal 1996

NILE re-issues & compilations

NILE In the Beginning album cover 4.17 | 3 ratings
In the Beginning
Death Metal 2000
NILE Legacy of the Catacombs album cover 4.50 | 1 ratings
Legacy of the Catacombs
Technical Death Metal 2007
NILE Pyramid Box album cover 0.00 | 0 ratings
Pyramid Box
Technical Death Metal 2007

NILE singles (4)

.. Album Cover
4.50 | 1 ratings
Unas Slayer of the Gods
Technical Death Metal 2002
.. Album Cover
4.00 | 1 ratings
Sarcophagus
Technical Death Metal 2003
.. Album Cover
3.50 | 1 ratings
Execration Text
Technical Death Metal 2004
.. Album Cover
0.00 | 0 ratings
Papyrus Containing the Spell to Preserve Its Possessor Against Attacks From He Who Is in the Water
Technical Death Metal 2007

NILE movies (DVD, Blu-Ray or VHS)

NILE Reviews

NILE Black Seeds of Vengeance

Album · 2000 · Brutal Death Metal
Cover art Buy this album from MMA partners
siLLy puPPy
While NILE hit the ground running on their debut release “Amongst The Catacombs Of Nephren-Ka” which found the band utilizing the Egyptian mythology that Iron Maiden flirted with on their “Powerslave” album, it was their second album BLACK SEEDS OF VENGEANCE where they really started to take the ideas laid down on the debut release and organize them into a more cohesive package that began their slew of epic feeling death metal releases. In the lineup department, this was a volatile period of the band’s existence with band leader Karl Sanders having to replace percussionist Pete Hammoura because of injuries sustained during touring. In to save the day was Derek Roddy who was a seasoned drumming veteran at this point after playing in several bands including Hate Eternal. He would fill the role in the drum department only for this one album before he would be replaced by the great George Kolias. Another great change in the band’s sound came with the addition of the second guitarist /vocalist Dallas Toler-Wade who added a new heft to the band’s already heavy sound. The new two-guitar lineup granted the expansion of rhythm and lead counterpoints which the band exploited superbly.

While “Amongst The Catacombs Of Nephren-Ka” found NILE with a relatively unique sound in the burgeoning death metal camp that glutted the 90s, one aspect of that release that was missing was a true sense of cohesion with well laid out concepts that flowed in a rather logical manner. The album was more simplistic in the composition department and retained an element of the punkish innocence that was a leftover from the demo days. On BLACK SEEDS OF VENGEANCE, the twelve tracks on board take all the disparate elements present on the first album and arrange them in a more logical and seductively pleasing manner. Firstly the lush Middle Eastern orchestral parts are no longer separated from the brutal death metal bombast and the two are allowed to mix and mingle at various points of the album. The technical aspects have also increased as the tracks are not only more varied in sound but the unorthodox song structures take more liberties to twist and turn in myriad directions superimposing the ritualistic serpent marches with the atonal caustic freneticism of the lightning fast guitar riffs and blastbeats. Likewise Derek Roddy delivers a more technical percussive workout offering more variation in the jaw dropping drum rolls and percussive bombast.

While the death metal orotundity has exponentially increased its technical virtuosity, it too diverges from the power driven speed of the debut and offers crushingly slow death doom passages that allow sustained chords to sustain in unison with Turkish gongs as well as creating thrash palm muted passages to parade through the serpent’s temples as the compositions are more infused with an exotic Middle Eastern flair and finds the band expanding their use of musical scales and experimental string tunings in various keys. Likewise the orchestrated exotic flair of the Conan the Destroyer soundtrack parts exhibit more variation this time around as well with extra musicians on board to offer tastes of exotic instruments and eerie choral vocals that conspire to create one of the most surreal death metal experiences of the turn of the millennium. The attention paid to the atmospheric possibilities in conjunct with the portentous ferociousness of the growled vocals and instrumental death metal assaults is quite artfully achieved. Tracks such as “To Dream Of Ur” offer up the full potential of these cross-pollinating aspects with strange growly chants, exotic Middle Eastern stringed instruments and death doom tempos that allow the tracks to build up to crescendoes before transitioning to more aggressive passages.

BLACK SEEDS OF VENGEANCE is rather unique in the NILE canon as it is the perfect transition album that finds the band shedding their old school brutal death metal skin and dressing it all up in their tech tuxedo of death in which they would continue to perfect on future albums but something about this second release continues to draw me back for returned visits more than any other NILE album. I believe that it is the album that most uses the death and doom metal elements to emphasize the Ancient Egyptian musical feel rather than the other way around. Every aspect of BLACK SEEDS OF VENGEANCE seems to revolve on keeping the listener anchored in the fertile pharaoh ridden shores of the river that sustained the ancients and all their mysterious ways. This one has more time dedicated to these non-metal aspects including chants and periods of eerie mummy raising rituals. The bombast of the metal simply reinforces the themes and mythology that the lyrics and exotic scales construct. For my money, BLACK SEEDS OF VENGEANCE is one of the best NILE albums in their discography and while albums like “Annihilation Of The Wicked” may be more technically advanced, they are still simply variations of the syncretic ideas laid out on this sophomore album. This album is EXCELLENT!!!!

NILE Amongst the Catacombs of Nephren-Ka

Album · 1998 · Brutal Death Metal
Cover art Buy this album from MMA partners
siLLy puPPy
It was bound to happen eventually. When Iron Maiden released their landmark album “Powerslave” in 1984, it not only displayed a classic metal band in full form in the midst of their long creative peak that would span the rest of the decade but it also sowed the seeds that fertile imaginations could take several steps further. In other words, “Powerslave’s” album cover imagery insinuated a fully developed concept album about the world of ancient Egypt and the mythology and power structures that enabled it to endure for centuries, however in reality the album was a collection of unrelated tracks ranging from military airplane maneuvers to medieval sword fights. After the years went by, Iron Maiden never revisited the Egyptian themes again and finally in the 90s a young death metal band from South Carolina would release the mummies from their chambers and resurrect these themes and create an entire career based on the squandered opportunities of Maiden’s voyage into the land of the sphinx and Alexander The Great.

NILE started out as a mere old school death metal band and as evidenced from their demos were nothing out of the ordinary in the beginning. However somewhere in their nascent years the band discovered not only the fruitful possibilities of cross-pollinating Egyptian themes with intense and brutal technical death metal, but went several steps further and added orchestral segments to their music that incorporated the feel and musical scales of the far away lands where the pharaohs once roamed. NILE debuted with a bang on AMONGST THE CATACOMBS OF NEPHREN-KA where they immediately set themselves apart from other old school death metal clones and established a fascinating hybridization of the brutal death metal genre with music and lyrics inspired by Ancient Egypt history, mysticism, religion and arts coupled with healthy doses of H.P. Lovecraft sci-fi veneration.

The title of the album is a reference to Lovecraft’s “The Outsider” where NEPHREN-KA was a fictitious Egyptian Pharaoh who committed horrendous atrocities to fuel his cult worshippers that ultimately resulted in his actions to be erased from the historical records only to be unearthed in the CATACOMBS where he was buried. The music on the album mostly exudes the brutal technical death metal that NILE has become synomous with but also displays their knack of developing the orchestral instrumental parts that originated on Morbid Angel’s “Domination” and put an Ancient Egyptian spin on them. There are also classical inspirations such as the intro of “Ramses Bringer Of War,” a clear references to Gustav Holst’s “Mars Movement” from his best known works on “The Planets.” The Middle Eastern sound is quite strong with additional musicians lending a hand on bona fide thigh bone flutes, Turkish gongs, Damaru human skull drums and eerie sounding choirs. In fact, the whole affair somewhat comes off as a more technically developed Morbid Angel death metal album making an appearance on the Conan The Barbarian soundtrack as the orchestral parts remind me of that movie.

While NILE would continue to hone and craft their sound and ratchet their complexity and sophistication up several notches on the ensuing albums, their debut AMONGST THE CATACOMBS OF NEPHREN-KA is an excellent album in its own right with heavy distorted death metal chops blastbeating their way into your nervous system while Karl Sanders pummels away on the guitar with his death growl vocal style. In this early lineup of NILE, it was Chief Spires on bass and Pete Hammoura on drums and while he didn’t quite match the intensity of George Kollias’ speed, he more than displayed the adequate stamina to churn out satisfying death metal chops. This debut perhaps does not stand above the more accomplished albums that follow but is still one not to be missed. True that the tracks are generally shorter and more to the point without the compositional prowess of albums like “Annihilation Of The Wicked,” but AMONGST THE CATACOMBS OF NEPHREN-KA delivers the goods in a totally satisfying way that adds the mystique of the tales of another time and place with brutal death metal outbursts fortified with lush excursions to a feel of the silk road.

NILE Those Whom the Gods Detest

Album · 2009 · Technical Death Metal
Cover art Buy this album from MMA partners
UMUR
"Those Whom the Gods Detest" is the 6th full-length studio album by US death metal act Nile. The album was released through Nuclear Blast Records in November 2009. It´s the successor to "Ithyphallic" from 2007. "Those Whom the Gods Detest" is the third studio album in a row produced by Neil Kernon (Nevermore, Macabre...etc.) and sound production wise there are many similarities between the three albums (the drum production is handled by Eric Rutan on this one though). Neil Kernon seems to be the perfect producer to bring out the best in Nile´s rather complex, busy, and at times chaotic soundscape. The sound production on "Those Whom the Gods Detest" is powerful, brutal and professionally crafted. Raw yet clear. But not clean in a way that takes away power or brutality.

Stylistically the material on "Those Whom the Gods Detest" is brutal and technically well played death metal. There´s an epic atmosphere to the music and Nile as usual incorporate middle eastern scales/notes/themes in the music. The latter elements compliment the ancient Epypt lyrical themes perfectly and are some of the defining elements of the Nile sound. The 10 tracks on "Those Whom the Gods Detest" are all well composed, intriguing, and powerful enough to tilt an elephant. The tracks are also relatively varied and given some spins they begin to stand out from each other. That´s not necessarily an everyday thing when we´re talking brutal death metal artists and their releases but Nile are one of the few exceptions to the rule. They both play crushingly heavy parts, mid-paced death metal grooves, and insanely fast-paced blast beating. There´s nothing this band can´t do.

The vocals are deep brutal growling but they are actually intelligible to a certain extent, which is a major plus in my book. The commanding and aggressive fashion they delivered in, is not exactly a problem either. Lead vocalist/bassist/guitarist Dallas Toler-Wade are occasionally complimented by guitarist Karl Sanders who delivers some additional (and more unintelligible) growling vocals. The riffs those two conjure up are brutal, razor sharp, and rather sophisticated for the genre but it´s the drumming by George Kollias that put the icing on the cake. The man is a phenomena. You can argue that he plays his two triggered bass drums a bit too much but it´s hard to argue that he doesn´t play them well. He has a way of making the music move forward in a powerful and aggressive fashion yet with a sophistication that puts him in a class of his own. In addition to his playing on the faster paced tracks it´s interesting to listen to his playing on the crushingly heavy and slow "4th Arra of Dagon" which perfectly showcases what he is also capable of when the pace is lowered.

Upon conclusion, Nile have with "Those Whom the Gods Detest" once again proven who are the kings of brutal technical death metal. Releasing several high quality death metal albums in a row is not something you´ll see many artists accomplice. They are one of the very few death metal acts that have a distinct sound and an overall concept that work wonders. Put on any Nile album and you would instantly be able to tell that it was Nile you were listening to. Now that is what seperates the leaders from the followers. Well crafted memorable compositions, excellent musicianship, and a powerful professional sound production. It´s hard to ask for much more than that. A 4.5 (90%) star rating is deserved.

NILE Those Whom the Gods Detest

Album · 2009 · Technical Death Metal
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voila_la_scorie
At the beginning of my new journey into extreme metal, I recalled the band Nile being mentioned a few times on MMA and decided to check them out. This album became my first acquisition and I have decided it will be only the first of a few.

Nile are a band that stick with an ancient Egyptian theme, and I think for many bands, commencing their careers with such a theme can be exciting because of all the possibilities they imagine ahead. However, a few albums later and the theme can start to run a little thin. Knowing that this is the band's sixth album, I had to wonder what stage in their theme's evolution I was at. Had they begun with a very strong emphasis on the Egyptian theme and then eased back on it? Had they almost dropped it and were now bringing it back a little? Did they more or less maintain the Egyptian theme at the same level? Until I hear more albums I will not know for sure. But here are my impressions of "Those Whom the Gods Detest".

First off, the Egyptian theme is mostly in the artwork, the song titles, and the lyrics, though at times we can hear what sounds like ancient brass, shamic chanting, ancient stringed instruments and percussion, and voices chanting or wailing. I like how the band has included these as additional colour and tone without relying too heavily on them. They don't fill or lead the song but add atmosphere and interest.

As a brutal death metal band you can expect some furious drumming. I have been really impressed with drummer George Kollias because he not only has perfected all the standard death metal chops of double kick bass, blast beats, and speedy fills, but he actually uses the his drum fills to emphasis beats. Usually drum fills replace beats by filling the space with a flurry of snare and tom activity. But Kollias strikes the toms hitting each drum hard first before letting the sticks do their dance on the skins. Instead of a drum fill going brrrr, prrrat-ta-tat (sorry for the crude omomatopeaia), Kollias does a brr-brr-brrah-brrat-tarr-trr-brr kind of thing. Yes, they way I write it sounds silly and there's probably a percussion speak term that describes it. Anyway, I enjoy listening to his drum tricks.

The guitar parts of the music are an interesting pallette of breakneck speedy riffs, mid-tempo crushing riffs, and slow, ponderous riffs that are so slow and heavy they are like the feet of a ressurected mummy dragging across the limestone slabs. Way back in the early days of thrash metal, it was common for guitarists to tremolo pick chords at high speeds while drummers had to stick with just fairly fast beats. These days, drumming techniques can allow drummers to play beats faster than the guitarists can keep up. So here we have some songs with mid-tempo riffs and high-speed percussion. I think Nile marry this combination with great skill here.

The vocals are really awesome. We have the tough, ragged throat brutal vocals, and deeper death growls, and also a share of the deep, gutteral, toilet-bowl-gurgling vocals. Some extreme bands vocalize everything in this deep rumble and the lyrics are completely incomprehensible. Nile use this method of vocalizing for effect and drop it in mid-sentence so that it's possible to still follow the lyrics if you listen carefully. I think it really works!

Last, the production quality is super sharp which is necessary for an album like this to succeed sonically. With all the percussive effects, the additional voices and so on, it's a real treat to hear them enhance the mood and music. The track called "Yezd Desert Ghul Ritual in the Abandoned Towers of Silence" has these fabulous slapping percussive instruments, deep growls like from a beast the size of Jabba the Hutt, swishing sounds, chanting, wailing, clinking, and an ancient stringed instrument. It's like listening to a scene from an Egyptian horror movie in THX in the movie theater.

For my first Nile album, "Those Whom the Gods Detest" has made a considerable impression. Before the summer is over I will be sure to add at least one more album to my collection and for sure a third before the year is out.

NILE Ramses Bringer of War

Demo · 1996 · Brutal Death Metal
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UMUR
"Ramses Bringer of War" is an demo (later reissued as an EP) release by US death metal act Nile. The demo as originally released through Anubis Records in November 1996 and later reissued on EP through Visceral Productions in 1997. The three tracks on the 10:01 minutes long demo/EP would later appear on the band´s debut full-length studio album "Amongst the Catacombs of Nephren-Ka (1998)". "Ramses Bringer of War" is based on the classical piece "Mars: Bringer Of War" from Holst's "The Planets".

The music on the demo/EP is technically well played and brutal death metal with ancient Egypt/middle eastern lyrical themes. There is a clear direction in everything Nile have ever released and already this early on the concept was crystal clear. "The Howling of the Jinn" is a short and fast played death metal track. A brutal assault on the ears, while the title track is a bit more varied and epic. The keyboards on that track don´t sound that great though. They sound a bit artificial and cheap. The ambient "Die Rache Krieg Lied der Assyriche" closes the EP. It´s relatively short and atmospheric. On a longer album it might serve a purpose as atmosphere builder or a breather between brutal death metal tracks, but here it feels a bit like a waste of time on an already very short EP release.

While it´s not a perfect release (the sound production and especially the drum production could have been better) "Ramses Bringer of War" is still a worthy purchase that shows a clear development in the band´s sound and give a hint of where that sound is going. A 3.5 star (70%) rating is deserved.

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666sharon666 wrote:
more than 2 years ago
On the first two albums I think they were still finding their sound and I couldn't get into At the Gate of Sethu, but between 2002 - 2009 they were probably the most consistent death metal act on the planet. Four 5 star releases in a row IMO.

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