There are plenty of comments to this statement recently made Karl Sanders to Hails & Horns. The leader of Nile was very frank in admitting that the sound of the technical death metal band fromSouth Carolinawould not change in the future.
Moreover, that haunts some extreme positions, almost immovable, has been the main characteristic of a formation that continues to give us joy to those who enjoyed with their records.
At The Gate of Sethu, a more abrasive Nile, dense and cryptic
At The Gate of Sethu is the seventh album byNileand in the back to tell us that one of the bands is essential in the American extreme metal and a sure bet. As opposed to Those Whom The Gods Detest have shortened the running time and they have returned, although seem impossible, more abrasive, dense and cryptic.
There are three details that place Nile in another step, undoubtedly superior: the graphic concept is signed by Seth Siro Anton, head of Septicflesh, which has prepared a cover image for their dramatic stories set in ancientEgypt. Here we see Sethu, the monstrous serpent that guards the gate of the tenth section of the Tuat and Nemi, the mummified form which stands at the threshold.
The production of Neil Kernon (Nevermore, Cannibal Corpse, and Deicide) is final, it has achieved resounding sound thatNileand the arrangements and environments that tend to give their songs are nothing more than a dip. And the presence again of the former singer and guitarist ofNile, Jon Vesano, that already collaborated in its previous album. Karl Sanders describes it us:
“We wanted to incorporate some of his madness. He is a bad man. He knows how to channel that inner power. He finds a way to summon it”.
At The Gate of Sethu contains eleven songs, two instrumentals that serve small to give the listener a breather before the sonic waste which gives us the band ofGreenville. And it’s hard to keep some of the issues.
Perhaps because of its spectacular and mordant ‘The Fiends Who Come to Steal The Magick of The Deceased’, which was a foretaste of the album, is proof of what they are Nile in 2012, a technical death metal juggernaut that is still amaze us as they pass year.
We may also note ‘Enduring The Eternal Molestation of Flame’, a cut with a disturbing intro and a refined instrumental development. Sanders have confessed that have doubled to four times the guitars on the album to achieve that effect so corrosive and enveloping.
Next to this court, ‘The Gods Who Light Up The Sky at The Gate of Sethu’, puts you goose bumps imagining the scene on the cover, the same as ‘Tribunal of The Dead’, epiquismo theme, ending in the Hell, you certainly moved in that corridor you have to fight the copper to pass that door behind which is otherwise called Kefi mummified.
Nile – At The Gate of Sethu
- Enduring The Eternal Molestation Of Flame
- The Fiends Who Come To Steal The Magick Of The Deceased
- The Inevitable Degradation Of Flesh
- When My Wrath Is Done
- Slaves Of Xul
- The Gods Who Light Up The Sky At The Gate Of Sethu
- Natural Liberation Of Fear Through The Ritual Deception Of Death
- Ethno-Musicological Cannibalisms
- Tribunal Of The Dead
- Supreme Humanism Of Megalomania
- The Chaining Of The Iniquitous