Nile
(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )

Amongst The Catacombs Of Nephren-Ka , 5/10
Black Seeds Of Vengeance , 6/10
In Their Darkened Shrines (2002) , 7.5/10
Annihilation Of The Wicked (2005), 6.5/10
Ithyphallic (2007), 5/10
Those Whom The Gods Detest (2009), 6/10
At The Gate Of Sethu (2012), 5/10
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Nile, based in South Carolina, is death-metal band of guitarist Dallas Toler-Wade and singer/guitarist Karl Sanders, whose lyrics are rooted in Egyptian mythology and magic. The mini-album Amongst The Catacombs Of Nephren-Ka (Relapse, 1998) employed ethnic instruments and samples of chants.

Relying on a no less formidable arsenal of instruments (tablas, sitars, gongs), Black Seeds Of Vengeance (Relapse, 2000) is another bizarre combination of erudite and brutal. Death-metal's guttural groans and frantic spasms attain a religious intensity. The genre's monolothic beat collapses under the weight of the song's morbid theme, like in the unbearable tension and repulsive visions of Masturbating The War God. Even fast-paced mauling pieces like Multitude Of Foes and Black Seeds Of Vengeance sound more like invocations than bombshells. Middle-eastern tones permeate the lengthy and slow ceremony of The Dream Of Ur.

In Their Darkened Shrines (Relapse, 2002), with a new rhythm section (bassist Jon Vesano and drummer Tony Laureano), is another hurricane of brutal sounds at lightning speed. But the natural catastrophes of the brutal and epileptic songs (The Blessed Dead, with spectacular instrumental interplay, Kheftiu Asar Butchiu, Churning The Maelstrom, Wind of Horus pivoting on a hyper-tense barrage of guitars and drums) are mediated by the relatively slower pace and humane feelings of Sarcophagus (agonizing and frightening, boasting a monolithic bass noise and a ghostly choir in the background), and especially of the eleven-minute gargantuan suite Unas Slayer of Gods (haunted by a panzer riff and by a return of the choir of the dead, then disheveled by a horn fanfare and fibrillating drums, then revitalized by a galactic guitar solo over Laureano's titanic drumming, then wrapped up after an acoustic pause by the final monster riff).
To cap their masterpiece, Nile concocted an 18-minute four-movement suite, In Their Darkened Shrines, that further refined their already innovative dynamics. The first movement, Hall Of Saurian Entombment, is an exotic gothic orchestral overture, with no guitar and no vocals (other than a catacomb's choir). The second movement, Invocation Of Seditious Heresy, is a slab of standard growling-vocals grinding-drums death-metal. After the inconclusive Destruction Of The Tempe Of The Enemies Of Ra, the closing Ruins unleashes a colossal romantic guitar melody. Never had a death-metal band attempted such a lengthy and ambitious piece.
Other than the growling vocals, little of Nile's sound complies with the stereotypies of death metal.
This was possibly the greatest line-up of any death-metal band.

Karl Sanders' solo album Saurian Meditation (Release, 2005) invests only in the weaker side of his art.

Annihilation Of The Wicked (Relapse, 2005), featuring new drummer George Kollias, does not have the juggernaut tracks of its predecessor, although it inhabits the same sonic space and it boasts the same emotional urgency. The three longer pieces, the the agonizing, stuttering User Maat Re, the epileptic Annihilation of the Wicked and he solemn and funereal Von Unaussprechlichen Kulten, display three different sides of their innovative genius, but no track manages to fuse all of them together. Nonetheless, Nile dominate the death-metal scene of the 2000s with their ebullient, thick, dense, intense productions (the anthemic Cast Down the Heretic, the relentless The Burning Pits of the Duat, the tumultuous Lashed To The Slave Stick). Karl Sanders' groaning vocals have become slightly more melodic and, all in all, humane.

(Translation by/ Tradotto da Marco Spagnuolo)

I Nile sono una death metal band proveniente dalla South Carolina formata dal chitarrista Dallas Toler-Wade , dal cantante/chitarrista Karl Sanders ,dal bassista

Chief Spires (fino al 2001) e dal batterista Pete Hammoura (fino al 2000).

I brani della band si rifanno alla magia e alla mitologia dell’antico Egitto.

Esordiscono con due EP Festivals Of Atonement e Ramses Bringer Of War.

Il primo mini-album Amongst The Catacombs Of Nephren-Ka (Relapse, 1998)

vede la presenza di strumenti etnici e modelli di canti liturgici.

 

Facendo affidamento su un non meno formidabile arsenale di strumenti(tablas, sitars, gongs), pubblicano Black Seeds Of Vengeance (Relapse, 2000) un’altra bizzarra composizione di elementi brutali ed eruditi. I gemiti gutturali propri del death-metal

e gli spasmi frenetici raggiungono una intensità religiosa.

Il beat monolitico del genere collassa sotto il peso del tema "morbido" del brano,

come nella insopportabile tensione e nelle visioni repulsive di Masturbating The War God.Sebbene vi siano brani cadenzati in maniera molto veloce come ad esempio Multitude Of Foes e Black Seeds Of Vengeance sembrano più essere delle invocazioni che delle "bombe". Toni provenienti dall’estremo oriente pervadono la lunga e lenta

cerimonia di The Dream Of Ur.

In Their Darkened Shrines (Relapse, 2002),con una nuova sezione ritmica(al basso Jon Vesano e alla batteria Tony Laureano con un passato nei Dimmu Borgir), è un altro uragano di suoni brutali alla velocità della luce. Ma le catastrofi naturali di The Blessed Dead, Kheftiu Asar Butchiu e Churning The Maelstrom sono meditate dalle strutture relativamente umane di Sarcophagus e Wind of Horus (quasi lirica se comparata) e dalla suite gargantuesca di 11 minuti Unas Slayer of Gods (di cui la seconda parte è degna delle più importanti progressive rock band). A coronamento del loro capolavoro,i Nile mettono in piedi una suite in 4 movimenti della durata di 18minuti , In Their Darkened Shrines, che rinverdisce il loro già innovativo uso di percussioni e tastiere. Questa è probabilmente la migliore death metal band attualmente in circolazione.

L’album solista di Karl Sanders Saurian Meditation (Release, 2005), mostra solo la parte più debole della sua arte.

Annihilation Of The Wicked (Relapse, 2005), insieme al nuovo batterista George Kollias, non possiede brani dalla potenza terribile come il precedente lavoro,sebbene "abiti" lo stesso spazio sonico e vanta la stessa premura emozionale. I tre brani più lunghi,User Maat Re, Annihilation of the Wicked e Von Unaussprechlichen Kulten,

mostrano tre diversi aspetti del loro genio innovatore, ma nessun brano riesce a fonderli tutti insieme in un corpo unico. Ciò nonostante i Nile dominano la scena del death metal degli anni 2000 con le loro esuberanti e intense produzioni (Lashed To The Slave Stick, Cast Down the Heretic, Annihilation Of The Wicked, The Burning Pits of the Duat).

Ithyphallic (Relapse, 2007) would not be embarrassing if the band did not try so hard to sound "technical" (as they advertise in the liner notes). The harder they try, the more amateurish they sound. There are moments of delight in the eight-minute What Can Be Safely Written and Papyrus Containing The Spell To Preserve Its Possessor, but the rest is just a twisted kind of pomp. Eat of the Dead works, the rest tends to sound repetitive and sometimes plain silly.

Those Whom The Gods Detest (Nuclear Blast, 2009) increased the pagan, exoteric and exotic elements, and At The Gate Of Sethu (Nuclear Blast, 2012) appropriated the sleek sophisticated sound of prog-rock.

(Translation by/ Tradotto da xxx)

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