I first came across Rivers Of Nihil in 2013, initially intrigued by the brightly coloured yet unmistakable artwork of Dan Seagrave that adorned their debut album “The Conscious Seed Of Light”, then utterly blown away by what I heard (in fact, “Rain Eater” is STILL set as my ringtone, eight years and three phones later). The band have gone from strength to strength ever since, with 2018s “Where Owls Know My Name” being nothing less than a progressive death metal masterpiece. Each album has apparently followed a seasonal theme (the debut representing spring) thus this fourth outing is a subtle nod to winter, and it’s certainly a darker, deeper and more demanding listen than any of their previous output.
“The Tower” provides a vocal theme that is revisited later in “Tower 2”, before the band channel their inner Devin Townsend for “Dreaming Black Clockwork”. The song veers from trippy synths and layered guitars to heavy-as-fuck chugging and blasting and back again, before descending into a brick-walled chaotic noisescape. “Wait” seems like a tender, laid-back semi-ballad, before a swell of feedback brings in a flanged guitar sweeping back and forth, bridging to heavily reverbed vocals and a classic prog-rock guitar-hero ending. A dissonant picked guitar riff segues into the aptly titled “Focus” to bring a little consistency to proceedings, a mid-paced crusher of an anthem that shares a little DNA with fellow Pennsylvania townsfolk Black Crown Initiate.
“Clean” is another stomper, much more in keeping with the Rivers Of Nihil of old, underpinned throughout with a brooding four note melody. “The Void From Which No Sound Escapes” is undoubtedly one of the highlights of the album, an absolute masterclass in transitioning between frenzied fills and measured beats, all whilst maintaining a solid groove and ending on huge soaring climax. “MORE?” is a short sharp burst of classic Rivers Of Nihil, and the closest that this album gets to the catchiness of its predecessor.
The interlude of “Tower 2” serves as a break prior to the epicness that follows, the final three tracks running to a massive 26 minutes! “Episode” begins in a laid-back manner before letting rip with an anxious refrain across its seven-plus minutes, whilst “Maybe One Day” another Devin-esque proto-ballad in the shape of “Wait”. Arguably the best is saved until last; with “Terrestria IV: Work” we all know THAT motif is coming, and a tension building intro teases it alternately between the guitar and saxophone, before we finally get the familiar refrain. The Terrestria motif is revisited throughout the song before fading out at the end, giving way to chirping birds bringing us full circle back into spring, a fitting bookend which suggests that you could probably loop all four albums.
Many spins later I’m still getting to grips with this album, and it becomes more rewarding with each listen. It’s wider in musical scope and texture than any of its predecessors, with more clean vocals, less use of chunky riffage. There’s a lot more subtle saxophone and other instrumentation woven into the texture of the music, occasionally fusing with the guitar sound (and even a theremin on “Clean”!). The lazy “King Crimson of death metal” comparisons can go in the bin as Rivers Of Nihil have now firmly established themselves as a front-running entity in their own right, even if “The Work” is a little self-indulgent in places.
(7.5/10 Doogz)
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