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Self-titled records usually signal one of two things: a band’s intention of saying ‘This is who we are, take us or leave us,’ whether as an introduction or after a period of unease, or it’s a message of hitting a reset button and beginning a new era. For Pennsylvanian progressive death metallers RIVERS OF NIHIL, the latter seems to be at play here. In the years following 2021’s The Work, an album that received mixed to positive reviews from critics and fans alike, the band lost vocalist Jake Dieffenbach and guitarist Jon Topore in quick succession; Andy Thomas replaced the latter, while Adam Biggs stepped up from backing vocals to band frontman in lieu of another standalone singer. Fifth album Rivers Of Nihil, out on May 30th via Metal Blade Records, is the first offering by this new lineup as they look to begin a new chapter on as strong as foot as possible.
Album artwork doesn’t really get as much focus nowadays, which is a shame because not only do some records still have stunning covers, but they can also give off subliminal messages about the music, intentionally or not. Rivers Of Nihil boasts Dan Seagraves‘ stunning painting of a biblically accurate angel standing tall above a single figure – on one hand imposing and terrifying, on another beautiful and awe-inspiring.
In turn, the record itself matches such emotions – Dustman is a bludgeoning, rampaging beast, bolstered in no small part by Jared Klein‘s impressive drumming abilities; the blast beats cause the song to fly at breakneck pace before dropping into a crushing breakdown with little more than double bass, snare and ride cymbal. Despair Church is a dark, menacing track with huge guitar swings that bring an impending sense of doom, even when the chorus soars quite ethereally and Patrick Corona, once again, provides his first of several movements on alto-saxophone.
Yet, it’s when RIVERS OF NIHIL go a little more experimental, as is their want, that the beauty within their tunes really come to the fore; they’ve long been experts at pushing boundaries and never once having those forays feel out of place and this shows again here. Water & Time is a huge switch in tone and style, a sprawling prog metal track that shows hints of MASTODON‘s layered clean vocals in the chorus, but is also laden with synths, a new curveball for the band but one they pull off well; it’s also where Corona shines brightest – saxophone compliments synth music brilliantly and this is indicative of such a coupling.
There’s another such moment in The Logical End, which also does away with the gnarlier side of the band’s arsenal in favour of polyrhythmic riffs, further saxophone interludes and an almost post-metal expanse when Brody Uttley‘s guitar solo comes into play. The closing title track. despite clocking in at less than three-and-a-half minutes, seemingly brings everything together that has come before: the opening is sinister and foreboding, the clean vocals once again harmonious and delicate and the final third bruising and snarling, the album closing in sumptuous fashion.
They’ve gone through a tough period, RIVERS OF NIHIL, but their self-titled record is the strongest proof yet that they’re coming out of the woods at the least and are fully into the sunlight at best. There’s no hint of struggle or uncertainty any more, just a band who have adjusted to their changes, channelled their feelings into their music and crafted an album that, to put it mildly, is an absolute belter. Long live RIVERS OF NIHIL.
Rating: 9/10
Rivers Of Nihil is set for release on May 30th via Metal Blade Records.
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