When a band releases an eponymous album with several full-length albums already under their belt, it is usually a statement of sorts – and a rather definitive. The new RIVERS OF NIHIL outing, released on May 30th, 2025, via Metal Blade, is no exception to this rule. Whereas the band’s previous two albums – “Where Owls Know My Name” (2018) and “The Work” (2021) – were predominantly all-out progressive death-metal onslaughts, their fifth, eponymous studio album is a markedly more brutal endeavor altogether. Still, while the pummeling death-metal antics form an integral part of the album, there are ample moments of transcending, almost dream-like beauty, eccentric prog quirks, and lush melodicism overarching these ten new songs. Then, replacing the departed Jake Dieffenbach as the lead vocalist, bassist Adam Biggs does nothing short of an impressive job, layering the band’s signature sound with a tad more nuanced vocal imprint. The singles released ahead of the album, for instance, “Criminals,” released in April 2024, up to “Water & Time,” released almost exactly a year later, suggested that the band was up to something spectacular, but I guess not many expected something like this. The latter single is, in fact, one of the band’s most haunting songs to date, downright Song of the Year material. After a few spins, I feel quite compelled to dub the new RIVERS OF NIHIL album a truly grand statement in the band’s progressively tinted death-metal oeuvre.
Opening the album, “The Sub-Orbital Blues” was released as the first single almost two years ago. It marked the first song with the new lineup after Dieffenbach‘s departure. Right off the bat, the song seemed to set quite an ambitious tone for the new album with its sublime blend of chugging riffs, raw gutturals, some haunting whispers, and the band’s trademark saxophone licks. This also marked the first appearance of new guitarist Andy Thomas (ex-BLACK CROWN INITIATE). Lyrically, the song is about the dichotomy of living in a 21st-century society rife with myriad technological advancements while dealing with all those old-world problems. I cannot help but think of the words of Antonio Gramsci, an Italian Marxist philosopher, “The old world is dying, and the new world struggles to be born: now is the time of monsters.” This rather befittingly applies to the new RIVERS OF NIHIL album, as well: it is quite the monster, but in a delicious way. The following singles would further prove that the new album was going to be a haunting amalgamation of something old and something new, the aggressive, technical side of “The Work” and the atmospheric side of “Where Owls Know My Name.” Still, when the album finally came out, it had a few nice surprises up its sleeves.
“Criminals” was also one of those early singles, showcasing the band gearing up on aggression like never before. Lyrically, the song contemplates the nature of crime, punishment, and the delicate balance of power therein. Thus, it stands to reason that the band fires on all cylinders. “Dustman” follows a rather similar formula, spiced up with some blast beats and deliciously deranged vocal harmonies. I reckon this song is something Ihsahn might sound like if he ever opted for some technical death metal with gutturals.
The next three tracks are nothing short of a royal flush. “House of Light” was the first single to gear up on the band’s progressive proclivities, harkening back to the nothing short of a perfect balance of atmospherics, brutal riffs, and soaring melodies on “The Work.” The song is a textbook example of how the saxophone, of all those not-so-metal instruments, can be integrated seamlessly into a full-tilt death-metal song as if Mother Nature herself had always intended so.
Then, “Water & Time,” the last single released just shortly ahead of the album, hits a home run. It is by far the most atmospheric banger in the new selection, playing on the strengths of “Where Owls Know My Name.” Not only does the song boast some of the most haunting saxophone sections on the album, but it also rolls out some of the most beautiful guitar legatos. When the single came out in April, I did not listen to anything else for the next few days. I’m saying it’s one of the absolute best metal songs of 2025 so far, if not THE best.
That said, these two haunting singles are preceded by yet another jaw-dropping blend of brutal riffs and cinematic melancholy in “Despair Church.” Once again, I could sense a sort of kindred spirit in the works; the song is vaguely reminiscent of Ihsahn’s 2018 outing “Ámr.” There is something similar in the way RIVERS OF NIHIL adorns those steamrolling, brutal riffages with moments of such ethereal beauty that it could make a grown man burst into tears. Both also transcend all labels applied to them.
The rest of the album alternates between the full-on brutality of tracks such as “Evidence” and “American Death” and more progressive takes, such as “The Logical End” and the title track, closing the album. However, even at their most brutal, the abrasive riffages are balanced with some nice atmospheric sections or haunting layers of clean vocals. The closer unfolds almost like a chant, spiced up with some nice Middle-Eastern flourishes, but even with the song being the most mellow of the selection, it boasts ample breakdowns of an almost deathcore-esque variety. Now, this is the proper way to close such a haunting album!
This spring appears to be a gift that just keeps on giving, in terms of quality releases; first, KARDASHEV released their new studio album, then we were blessed with this new RIVERS OF NIHIL endeavor, and next month, the new FALLUJAH album is coming out. The first two have already elbowed their way onto my Best Metal Albums of 2025 list and I cannot see why FALLUJAH wouldn’t join the party (the new single sounds pretty damn good). We’re barely halfway into the year, but I feel mighty confident that these three bands will rank extremely well, probably in the Top 3 unless something EXTRAORDINARY will be released in the six months to come. Considering the band’s prestigious back catalog and those banging singles they released in the past two years, it was a no-brainer that this new RIVERS OF NIHIL album would be good, but it turned out to be even better than I expected.
Written by Jani Lehtinen
Tracklist
- The Sub-Orbital Blues
- Dustman
- Criminals
- Despair Church
- Water & Time
- House of Light
- Evidence
- American Death
- The Logical End
- Rivers of Nihil
Lineup
Adam Briggs – vocals, bass
Brody Uttley – guitars, keyboards
Andrew Thomas – rhythm guitars, vocals
Jared Klein – drums, vocals
Label
Metal Blade
Links
https://www.facebook.com/riversofnihilhttps://www.instagram.com/riversofnihil/#
