{"id":144693,"date":"2025-05-30T17:46:08","date_gmt":"2025-05-30T17:46:08","guid":{"rendered":"https:\/\/www.europesays.com\/uk\/144693\/"},"modified":"2025-05-30T17:46:08","modified_gmt":"2025-05-30T17:46:08","slug":"rivers-of-nihil-rivers-of-nihil-review","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/uk\/144693\/","title":{"rendered":"Rivers of Nihil – Rivers of Nihil Review"},"content":{"rendered":"

\"\" With the decision to make their fifth album self-titled, Rivers of Nihil<\/strong> signal a rebirth of their sound\u2014both a return to their roots and a new direction. This makes sense when considering that long-time lead singer Jake Dieffenbach departed in 2022. Taking his stead is bassist Adam Biggs, who was already a backup singer, and newcomer Andy Thomas (Black Crown Initiate<\/strong><\/a>), who lends his guitars as well as a significant vocal presence. It\u2019s no secret that Rivers of Nihil\u2019s<\/strong> prior albums haven\u2019t met the warmest reception<\/a> at AMG headquarters, but Kronos<\/strong> saw a clear improvement in their last two albums. Does Rivers of Nihil continue this line of progress, or does the new lineup take the band in the wrong direction?<\/p>\n

In their latest iteration, Rivers of Nihil<\/strong> takes steps forward and some steps back. They largely strip away the progressive song structures that were successful on Where the Owls Know My Name<\/a> and The Work<\/a>. Tracks are more repetitive, coupled with industrial beats and simple chugging riffs. Not that many lauded Rivers of Nihil<\/strong> for their killer riffage\u2014the inability to strum actual tunes was a constant complaint throughout Kronos\u2019s<\/strong> reviews. The addition of Andy Thomas\u2019s cleans and the return of the saxophone (handled by Patrick Corona of Cyborg Octopus<\/strong><\/a>) help offset this problem to an extent. Songs like \u201cThe Sub-Orbital Blues\u201d work despite the simple guitar work due to its high energy on the drums, the seamless blending of Thomas\u2019s and Biggs\u2019s singing, and some sexy sax riffs. Rivers of Nihil is at its best when it embraces its proggy side. Songs like \u201cWater & Time\u201d and \u201cHouse of Light\u201d balance the gentle, the rough, and even the uplifting as Thomas belts out some stunning choruses.<\/p>\n

\ufeffRivers of Nihil by Rivers of Nihil<\/a><\/p>\n

Bringing Andy Thomas aboard was a brilliant move. His presence lifts good songs and even elevates some mediocre ones, like \u201cDespair Church,\u201d where his soaring croons deliver a gut punch. This isn\u2019t to say anything against Adam Biggs, whose growls are punchy and effective. Rivers of Nihil<\/strong> are most effective when songs highlight the contrast between Biggs and Thomas. Also brilliant was giving Corona\u2019s sax more play time. With the poor production values, the sax stands out in the mix better than the guitars and it adds layers and depth to the music. \u201cHouse of Light\u201d mixes the vocal and sax elements perfectly, with Biggs and Thomas taking turns demonstrating their strengths, and the sax adding melody over the guitars. Unfortunately, the inconsistent songwriting often lets Rivers of Nihil<\/strong> down.<\/p>\n

\"\"While the front half is more mixed, the back half of Rivers of Nihil (except \u201cHouse of Light\u201d) takes a nosedive. Here, the band\u2019s worst instincts rear their ugly head. With the slow tempo, uninspired guitar play, and anemic choruses, these songs could effectively replace your soporific of choice. The worst offender of this bunch is \u201cAmerican Death.\u201d Its combination of blast beats and chug-a-chug riffs is the audio equivalent of a strobe light. Demonstrating a lack of imagination is the awkward chorus, whose lyric, \u201cI can\u2019t believe anything you say,\u201d is word-for-word the same as the chorus on Mushroomhead\u2019s<\/strong> \u201cEternal,\u201d and the delivery is also uncannily similar. Even the album\u2019s strongest elements fail to overcome the tedium of these final tracks. For example, the sax solo in \u201cThe Logical End\u201d is an attempt to jazz up a dull song, but this has the same effect as trying to cover up a smelly poo with air freshener\u2014it still stinks.<\/p>\n

As a fan of Rivers of Nihil\u2019s<\/strong> previous work, I had higher hopes when I plucked this from the promo bin. Rivers of Nihil likely won\u2019t deter the band\u2019s loyalest fans, nor will it sway its detractors. Those hoping for them to continue in the interesting direction of The Work will be largely disappointed, however. With one album under their belt, this new version of Rivers of Nihil<\/strong> is now at a crossroads. They can build upon the progressive foundations of \u201cWater & Time,\u201d or develop the energetic fun of \u201cThe Sub-Orbital Blues,\u201d or continue the unimaginative performances of \u201cThe Logical End.\u201d One can hope they can strike a balance between the first two options and leave the last one behind.<\/p>\n

Rating<\/strong>: 2.0\/5.0
DR<\/strong>: 4 | Format Reviewed<\/strong>: 256 kbps mp3
Label<\/strong>: Metal Blade Records<\/a>
Websites<\/strong>: riversofnihil.bandcamp.com<\/a> | riversofnihil.com<\/a>
Releases Worldwide<\/strong>: May 30th, 2025<\/p>\n

\n\tGive in to Your Anger:<\/p>\n","protected":false},"excerpt":{"rendered":"With the decision to make their fifth album self-titled, Rivers of Nihil signal a rebirth of their sound\u2014both…\n","protected":false},"author":2,"featured_media":144694,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3936],"tags":[25983,743,12295,62409,62410,12936,77,32546,62411,62412,269,24761,6080,6082,62413,16,15],"class_list":{"0":"post-144693","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-music","8":"tag-2-0","9":"tag-743","10":"tag-american-metal","11":"tag-black-crown-initiate","12":"tag-cyborg-octopus","13":"tag-death-metal","14":"tag-entertainment","15":"tag-may25","16":"tag-metal-blade-records","17":"tag-mushroomhead","18":"tag-music","19":"tag-progressive-metal","20":"tag-review","21":"tag-reviews","22":"tag-rivers-of-nihil","23":"tag-uk","24":"tag-united-kingdom"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@uk\/114598037781897626","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/144693","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/comments?post=144693"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/144693\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media\/144694"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media?parent=144693"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/categories?post=144693"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/tags?post=144693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}