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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
Thanks to UMUR, bartosso, Nightfly for the updates

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NILE Discography

NILE albums / top albums

NILE Amongst the Catacombs of Nephren-Ka album cover 4.00 | 30 ratings
Amongst the Catacombs of Nephren-Ka
Brutal Death Metal 1998
NILE Black Seeds of Vengeance album cover 3.85 | 25 ratings
Black Seeds of Vengeance
Brutal Death Metal 2000
NILE In Their Darkened Shrines album cover 4.14 | 27 ratings
In Their Darkened Shrines
Technical Death Metal 2002
NILE Annihilation of the Wicked album cover 4.19 | 38 ratings
Annihilation of the Wicked
Technical Death Metal 2005
NILE Ithyphallic album cover 3.60 | 29 ratings
Technical Death Metal 2007
NILE Those Whom the Gods Detest album cover 4.22 | 30 ratings
Those Whom the Gods Detest
Technical Death Metal 2009
NILE At the Gate of Sethu album cover 3.76 | 17 ratings
At the Gate of Sethu
Technical Death Metal 2012
NILE What Should Not be Unearthed album cover 4.43 | 12 ratings
What Should Not be Unearthed
Technical Death Metal 2015
NILE Vile Nilotic Rites album cover 4.44 | 4 ratings
Vile Nilotic Rites
Technical Death Metal 2019

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
Death Metal 1994
NILE Ramses Bringer of War album cover 3.50 | 1 ratings
Ramses Bringer of War
Brutal Death Metal 1996
NILE Worship the Animal - 1994: The Lost Recordings album cover 0.00 | 0 ratings
Worship the Animal - 1994: The Lost Recordings
Brutal Death Metal 2011

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 (5)

.. Album Cover
4.50 | 1 ratings
Unas Slayer of the Gods
Technical Death Metal 2002
.. Album Cover
4.00 | 1 ratings
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
.. Album Cover
5.00 | 1 ratings
Call To Destruction
Technical Death Metal 2015

NILE movies (DVD, Blu-Ray or VHS)

.. Album Cover
0.00 | 0 ratings
making things That Gods Detest
Technical Death Metal 2010

NILE Reviews

NILE Vile Nilotic Rites

Album · 2019 · Technical Death Metal
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siLLy puPPy
Still reeling from the high of seeing NILE play an energetic and exhilarating live show at the Oakland Metro Operahouse in lovely Oakland, CA supporting the band’s ninth studio album VILE NILOTIC RITES, i’ve still got my Egyptology hat on coupled with the death metal technicalities riffing through my head and the new album crankin’ in my earbuds on automatic replay. It’s been four long years since “What Should Not Be Unearthed” displayed the technical death metal wizardry of Karl Sanders’ baby and since then there has been a changing of the guard leaving only half of the band that played on the previous album. Dallas Toler-Wade departed in 2015 and left a void for both guitarist and bassist. Instead of recruiting another multi-instrumentalist to cover both, Sanders has replaced him with bassist / vocalist Brad Parris along with guitarist / vocalist Brian Kingsland. Both Sanders and long time drummer George Kollias remain firmly in control of their craft and although half the lineup is new to the game, the classic NILE sound of yore not explored since 2005’s “Annihilation of the Wicked” has returned like Coptic vestiges of long lost pharaohs.

After that 2005 mega-mastery of technical death metal wrapped up in ancient historical themes and imagery, NILE seemed to ditch the unique aspects of the Egyptian folk instrumentation that made the band stand out from the legion of death metal bands active in the 21st century and instead opted to engage in a relentless brutal delivery of technical guitar riffs and the usual suspects of labyrinthine song structures delivered at the speed of light. Virtuosic dissonant rampages of sound were the rule of the roost and even though NILE delivered the satisfaction of extremely professional sounding stampedes of sonic wizardry, i have been missing those slower introspective flirtations with the ancient sounds of traditional Egyptian music that sound as if they emerged right out of a Conan The Barbarian soundtrack. Well, my days of waiting are over as VILE NILOTIC RITES simultaneously takes NILE into a new musical paradigm that delivers an expanded palette of metal antics but also reaches back to the days when the Egyptian flavors were as prevalent as the sandy tan hues of the great pyramids of Giza.

Firstly i was surprised to find that Sanders, Parris and Kingsland pretty much share the vocals on this album, a surprise because they all sound so very much alike and i would never have noticed had i not seen the live performances. Stylistically NILE deliver the expected goods of caustic technically infused death metal guitar riffs along with the deepened growls that take serpentine paths into the mysteries of the hieroglyphic laden ancient past while bedazzling us with 21st century brutal bombast along with a nod here and there to Sanders’ early Morbid Angel connection with the sizzling squeal of a guitar solo. However despite the wrath of the NILE sound smacking me in the face at full force, there is more variation this time around. Not only does drummer George Kollias engage in a wider range of percussive pummelation but spends as much time taking a simpler route than delivering the madman in hyper speed approach the entire run. The music not only engages in the usual freneticism of the quickened death metal but also reverts back to some fo the death doom elements that launched the NILE sound in the first place.

Best of all are tracks like “Seven Horns Of War” that begin with the soundtrack quality epic sounds that gave birth to the unique musical scales and alternative tunings that give NILE its own distinct and instantly recognizable sound and while this track uses these effects as an intro and for closure, the lengthier intermission “Thus Sayeth The Parasites Of The Mind” implements a longer more intricate display of Saharan orchestration that sets the proper mood for mummies in the catacombs. The beauty of VILE NILOTIC RITES is how the brutal bombast of the tech death riffing alternates so perfectly with the slower slinking classical orchestrations and unlike previous albums that kept the two segregated, this one allows the two to stand side by side. On the metal side, NILE engages in more streamlined riffing attacks that sometimes offers some thrashy variations and often repeated riffs along with the chaotic meandering flow of dissonant distortion.

This is the sound i’ve been hoping NILE would revisit and here it is without sacrificing the art of moving forward while looking back. This album perfectly represents what NILE does best and that would be simply cranking out those exotic death metal riffs fortified by the esoteric sounding Saharan musical styles along with the sun scorched atmospheres of a ruling dynasty from so long ago. The epic mythological feel of earlier albums is completely restored and to great effect. While i’ve pretty much loved every NILE album since the debut, it’s this blend of styles that works best for my ears and VILE NILOTIC RITES delivers in the proper proportions and leaves me wanting more. This album reminds me of while NILE is near the top of my list for 21st century metal bands and easily maintains its own status quo while cranking out another batch of outstanding top notch quality tech death metal tracks. While it’s true NILE doesn’t stray too far away from the apple tree which gave it life, that is not such a bad thing when the wellspring is so plentiful and the sound is so original that i don’t get tired of it. A casual listen may sound like a mere retread but after several spins of this amazingly beautiful slice of tech death heaven, i’m enchanted by the subtle differences from the band’s past as well as the much needed revival of the softer elements that evoke the proper sonic spirits. The live performances i experienced were just icing on the cake.

NILE Black Seeds of Vengeance

Album · 2000 · Brutal Death Metal
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"Black Seeds of Vengeance" is the 2nd full-length studio album by US death metal act Nile. The album was released through Relapse Records in September 2000. There have been a couple of lineup changes since the release of "Amongst the Catacombs of Nephren-Ka (1998)" as drummer Pete Hammoura was forced to leave Nile as a result of an injury he sustained while touring in support of the debut album. He plays on "To Dream of Ur", but other than that the drums are played by session drummer Derek Roddy (Malevolent Creation, Hate Eternal, Council of the Fallen, Serpents Rise...). Second guitarist/vocalist Dallas Toler-Wade is new in the lineup. The lineup is completed by Karl Sanders (guitars, vocals, keyboards) and Chief Spires (bass, vocals) who are the only remaining members from the lineup who recorded "Amongst the Catacombs of Nephren-Ka (1998)". Only a few months after the release of "Black Seeds of Vengeance", Chief Spires would also jump ship.

So "Black Seeds of Vengeance" was created in a period of lineup turmoil, but that´s not really audible when listening to the album, which is cleverly crafted and skillfully played. The album features 12 tracks and a full playing time of 42:55. Some tracks are fast-paced, technical, and initially quite chaotic sounding like "Defiling the Gates of Ishtar" and the title track, while others are more heavy and epic like "The Black Flame" and "To Dream of Ur". In addition to the "regular" metal tracks, the album also features shorter instrumental middle eastern sounding interludes. The ancient egypt lyrical themes are explained in detail in the booklet which features extensive liner notes for each track. Along with the generally dark atmosphere, the middle eastern instrumental parts, the in depth description of the lyrics provide the overall listening experience with great impact.

The band are highly skilled musicians, and every note is played with great passion and conviction. High speed precision drumming, fast-paced guitar riffs and screaming atonal solos, and brutal growling vocals delivered by three different vocalists. The vocals are predominantly very low range and unintelligible, but there is the occasional word or phrase which are intelligible. The sound production is generally powerful, raw, and detailed, but a more organic bass drum sound and a more intense guitar tone, could have made it even better. Those are only minor issues though, and "Black Seeds of Vengeance" is overall a great sounding release.

So upon conclusion "Black Seeds of Vengeance" is a high quality sophomore studio album by Nile, which sees them developing their sound even further towards something unique. It´s raw, filthy, and chaotic sounding, but at the same time highly sophisticated and structurally complex, which is a hard balance that Nile strike perfectly. A 4 star (80%) rating is deserved.

NILE Black Seeds of Vengeance

Album · 2000 · Brutal Death Metal
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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
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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
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"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.

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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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