Change often comes at the most inconvenient time. Something Pennsylvanian Progressive Death Metal act Rivers Of Nihil discovered when they were forced into parting ways with enigmatic frontman Jake Dieffenbach after 2021’s groundbreaking album The Work. Hiring from within to avoid losing momentum, bassist Adam Biggs took over the now vacant vocalist position while second guitarist Andy Thomas was recruited from fellow Pennsylvanians Black Crown Initiate.
For their eponymously titled fifth album (released via Metal Blade), the band draw ideas from their previous records while stripping away the fat and inventing new ways to continue their evolution. Fifty-plus minutes of music which prove unequivocally that the well is nowhere close to being dry, or that one person held a magical key to success, but that sixteen years of experience comes with fresh perspectives, maturity, and a refreshed desire. All of which, and more, are in abundance here.
Originally released in June 2023 to introduce the new lineup, the opening cut, “The Sub-Orbital Blues,” features ethereal Cynic-style vocals and a breezy intro, followed by crushing rhythms and bellowing roars. A snappy middle section and an electrifying guitar solo ensures the song peaks at full intensity before “Dustman” lands unceremoniously in your ears, sounding like Fear Factory and Meshuggah procreating vigorously under laboratory conditions.
Another track released last year, the wall of noise otherwise known as “Criminals” opens with Stephan Lopez making his first, but not last, appearance on the banjo. Short, jagged angular riffs are joined by quieter, whispered sections with an almost choir-like backing. All of this while surging forwards with a chorus that shows the best of Biggs’ vocal talents. “Despair Church” follows with monstrous atonal riffs and another huge soaring chorus, the second half of this dark six-minute masterpiece nothing short of beautiful, especially Patrick Corona‘s saxophone.
The Brody Uttley-penned “Water & Time” is synth-driven melancholic perfection reinforced further by emotive guitar work and mournful sax, while the band’s first single of 2025, “House Of Light” is a pure distillation of everything the band is about. It has the riffs, it has the big chorus, it has the solos, and (of course) it has the sax. It also has Grant McFarland (producer) and Boba Sett from Galactic Empire) on the cello.
Aided by a massive chorus, breathtaking guitar solos, and vocal contributions from Brian Miler, Mike Manley, Nick Shaw, Ben Umanov, and Stephan Lopez, “Evidence” is pretty much full-on progressive brutality. The powerful “American Death” features another huge chorus while “The Logical End” strikes an impeccable balance between aggression and melancholy.
The record’s self-titled finale sees the guitars take a back seat for the most part, replaced by Biggs’ bass until the song’s final section tears the soul straight from your body. And on top of all this – and throughout the entire record – drummer Jared Klein holds everything together with absolute metronomic precision.
A self-titled record can often mean a more back-to-basics approach or a fresh start, but Rivers Of Nihil delivers the best of both worlds. New takes on old ideas, fresh and innovative beginnings, all wrapped up in reliably brilliant Dan Seagrave artwork and a powerful, precise mix courtesy of Carson Slovak and Grant McFarland.
INTERVIEW: Inside Rivers of Nihil’s Fifth Album – An Interview with Brody Uttley
Buy the album here:
https://www.metalblade.com/riversofnihil/
9 / 10
GARY ALCOCK
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