Rivers of Nihil know how to bounce back.
After the departure of their vocalist and one of their guitarists, Brody Uttley (guitar, ex-Dissian), Adam Biggs (bass/vocals, WretchedPain, ex-Dissian), and Jared Klein (drums, Flub, ex-Psychosomatic) recruit Andy Thomas (guitar/vocals, Antiqva, ex-Black Crown Initiate), and collaborate with Patrick Corona (saxophone, Cyborg Octopus), Grant McFarland (violin, Galactic Empire) and Stephan Lopez (banjo, Cavum) to create their fifth album, Rivers of Nihil.
The first track to hit is The Sub-Orbital Blues, which alternately exploits Andy and Adam’s vocal abilities while the rhythm section rages on, displaying both oppressive heaviness and technical skill. Having seen it in action, the track is perfect to start a set with its versatility, especially when the saxophone arrives, then it’s finally the groove and aggression that the band develops with Dustman, creating an explosive and intense cocktail. The combination of vocals is truly delicious, under waves of rage, but the sound eventually gives way to the disquieting Criminals, which increasingly exploits the band’s Prog roots to create mysterious patterns, but doesn’t set aside the more violent phases. Despair Church quickly follows, letting the darker roots take over while developing some dissonant and unpredictable touches, taking advantage of its length to make the anguish last by leading us towards a softer sound like on Water & Time, which bewitches us with its quietude. An eruption of fury is still on the agenda, but the track sounds like a real moment of rest, especially compared to House of Light, which quickly incites us to shake our skulls frantically on its grandiose passages. The final, in turn, is relatively gentle, unlike Evidence, which is much shorter, but doesn’t waste a moment in molesting us with all its might, thanks in particular to a massive rhythm section. After a short moment’s hesitation, the track picks up again, even offering some hardcore gang shouts in its final moments, but American Death takes over and brings us face to face with a devastating wall of sound that sometimes borrows from deathcore – particularly at the end – as well as from more chaotic sounds. We continue with the pared-down approach of The Logical End, which lets the instruments enter the composition one by one, but when the vocal parts take their turn the track becomes far more menacing, but the track is again long and indulges in various fantasies before giving way to Rivers of Nihil, the intriguing final composition where modern, intriguing keyboards once again reveal the band’s range of abilities, while bringing this chapter to a close.
Rivers of Nihil has always been a fluctuating project, mately leaning more towards Prog than Death, but this album seems to add new strings to their bow. Rivers of Nihil will appeal to old and new fans alike.
90/100