REVIEW: Rivers Of Nihil - Rivers Of Nihil

Progressive death metal Pennamites Rivers of Nihil have produced another great record. What else is new? One of the most innovative groups in the scene are back again, this time by dropping a self-titled record like they’re The Beatles. Which is odd, self-titled records are a confident statement. Bands only tend to release self-titled records when they genuinely believe what they’re putting out is the definitive edition. The real McCoy. That’s why it’s especially surprising as longtime vocalist, Jake Dieffenbach, is no longer in the band. Bassist Adam Biggs has stepped in from backing to lead vocals completely changing the dynamic. It’s palpable whilst you listen, this may not sound like the Rivers of yore, but it is still recognisably them. ‘Self-titled’ is like they’re trying to squeeze the entire timeline of their discography into a single hour of music, and it is a valiant effort to be sure. Ever since their debut, the band has slowly moved in a more progressive direction, culminating in the progressive death metal masterpiece Where The Owls Know My Name, an entry into a genre which hasn’t had that much hype for an album since The Sound Of Perseverance.  After Owls, their newest one continued the trend of them embracing a more emotional side. But now we are here, with the “definitive” Rivers album supposed to galvanise their past and their present.

And yes, before you ask, there is still a heck of a lot of saxophone.

The opener ‘The Sub-Orbital Blues’ certainly smacks of classic Rivers. So far so good. A melodic intro leading up to a brutal chugfest with the most triggered kick-drum you’ve ever heard. They seem to be going for the Mastodon approach here, with vocal duties shared between Biggs and new axeman Andy Thomas who sings the catchy refrain “See it, believe it". More heavily layered than a death metal lasagne, it never seems to get too much and has a little bit of everything. A really good start. ‘Dustman’ on the other hand, treads the saturation line with all the grace of a drunk on a tightrope. The vocals are distorted for effect before the chorus of “DUSTMAN!” surges in. Credit is due to drummer Jared Klien on his drum efforts here, the blast beats are so clean you could eat your dinner off of them.

‘Criminals’ does much of the same but makes more of an effort in the melodic department, winding down the brutal slamming for a while and allowing the listener room to breathe to the tune of winding synths. There’s also some beautiful bass flourishing by Biggs toward the end. The following track ‘Despair Church’ is a real standout. The guitars play a riff that lurches downward before the pandemonium is abruptly broken by a moment of peace, like sticking your head above water. The death metal being undercut by woodwinds and tribal drumming moments makes this feel like its picking up where Owls left off. The song is then played out by a gorgeous saxophone melody. Hell yeah.

Starting out with a synth intro, ‘Water & Time’ is a departure from the rest of the material on the album. It’s softer and more melodic, but the melodies harken back to the very best of the Rivers offerings. It’s got some serious heaviness in the middle sections, made all the more heavier by the contrast between hard and soft. The saxophones are back again, adding another layer of sophistication to this already staccato-heavy progfest. ‘House Of Light’ begins with the unmistakable foghorn of Robert Eggers' Lighthouse film, it continues on the general vibes of the last song with the delicate melodies once again complementing the brutality. It’s fast, aggressive, and knows exactly when to provide breathing room with a synth-y interlude. Already proving popular, it’s yet another album standout.

‘Evidence,’ on the other hand, is an absolute onslaught. Filled to the brim with riffs, fills, and kick drums you didn’t even know could go that fast, it’s a romp into the obscene. ‘American Death’ easily has the second-catchiest chorus of the album, a real ear-worm. The hooks will have you singing it all damn day and the drumming sounds like someone unloading a magazine. ‘The Logical End’ is exactly what it says on the tin, for it’s the logical conclusion to an aggressive record; serenity. There’s more polyrhythms, more softness, and more sax. There’s also an amazing solo by Brody Uttley in here. Now the end is here; 'Rivers of Nihil’, by Rivers Of Nihil, from the album Rivers Of Nihil. What should be the culmination of all of the band’s efforts thus far due to the bold title ends up being a very short closer which does exactly that but struggles to do it long enough. You could show someone this and they’d get a pretty damn good vision of what the band is all about and what sets them apart, but they’d be wondering; “why isn’t it longer?”

Hardcore fans would have already heard this and made up their minds, but the more casual Rivers fan would ask; “is it as good as Owls?” To which the answer to that would be, no. But it certainly expands upon the sounds created in Owls, as well as paying reverence to the other great records in the ever-expanding repertoire of Rivers Of Nihil. This refurbished Rivers has proven themselves strong together with this record, the synergy is tangible on every track and the proggy staccatos are done with such finesse that only a band of stuck-together progmeisters could accomplish. The overall experience of this record will leave you breathless, and thinking “ah, it might be time to listen to that again” as you probably missed something the first time. It’s an album that rewards re-listens. So you can tip your hats to the Rivers fellas, for once again they’ve produced something that not only elevates their own lofty standard, but ensures that the genre itself remains alive and kicking. It feels like the band has yet to produce their greatest record - this was just a stepping stone. And when that day comes, be ready with a mop and bucket as you’ll probably melt into a thick soup once you hear that opening blare. It will be biblical. Per angusta ad augusta.

Score: 8/10

Rivers Of Nihil was released on May 30th 2025 via Metal Blade Records.

Words: Kiarash Golshani

 Photos: Rivers Of Nihil