Review by Nathan on November 14, 2023.

This was the review in this series I was most excited to write, because At the Gate of Sethu might be the only album where my opinion is in stark contrast to the general fan perception. Sure, I don’t like most of the pre-Annihilation of the Wicked albums, but they have their share of detractors and everyone (including myself) still generally agrees that Annihilation is hands down their best record (with Those Whom the Gods Detest occasionally being mentioned as a distant second). Sethu, on the other hand, got a very poor fan reception. I recall browsing forums and such when this was released, and seeing scathing criticisms lambasting their lack of effort, that this was nothing new, poor production, etc. any time the album was discussed. Nowadays, even looking through the filter of time, most consider Sethu the unquestionable weak point of Nile’s discography.

This is puzzling to me. For one thing, it fuckin’ rips. Not only that, but the awkward songwriting that handicapped the band before is near absent, as these songs rip in a way that is direct, concise, and forceful. The transitions are smooth, the cheesiness has been (mostly) bled out of their atmospheric tendencies, and technically this is as exhausting and carpal-tunnel-inducing as anything the band’s written. If anything, this might be the only Nile album that’s consistently solid all the way through and doesn’t have a single moment that’s straight-up boring (even their best albums fell victim to this, if only for a short period). Am I listening to the same thing everyone else is or what?

The only theory that even partially explains the general opinion of Sethu is that it was a reactionary response to the warm, layered ambiance of the previous album. In all fairness, on Those Whom the Gods Detest it finally sounded like Nile was actually getting the hang of the whole “integrating Egyptian music and mythos with death metal” thing and not having it sound contrived or slapped together. Not only that, but Gods had their best production job (probably a big part of why it felt less hokey), and Sethu opts for a thin, treble-heavy tone that’s a lot closer to what you would have heard on Ithyphallic. It has a bit less oomph, so I can understand why it might have felt like a letdown - when you play Gods and Sethu back to back, the shift between the production styles is jarring without a doubt. Two tracks in, however, it’s apparent that the guitar tone choice was to showcase the finger acrobatics, of which there are many - and for once, they weave a thread you can follow.

It wouldn’t have made as much sense to have the big, warm tones that the previous release did on Sethu because the album doesn’t give as much focus to the Egyptian themes. It’s still Nile, mind you, but another reason why this may have gotten some extra flak from fans is because it dials up the “death metal” side of the music which comes at the expense of their whole hieroglyphic shtick. The ambience is relegated to more occasional interludes and every time you think they’re going to drag a boring slow song on too long so they can flesh out some more contrived atmosphere, Kollias kicks it into high gear again and you’re back to getting your face fucked with riffs. And the riffs sound mean as hell! Even with the beefed up noodling, this is the most direct and purposeful the guitarwork has sounded since Annihilation of the Wicked. It doesn’t sound like the speedy verse licks Sanders loves are just random jumbles of notes in a Middle Eastern scale, they actually repeat distinct and memorable motifs.

I suppose this is the part of the review where I should say that I’m already a big fan of tech death (it’s one of my favorite subgenres, if not my absolute favorite), so that may be why I’m biased towards this album. It amended all of my beefs with Nile’s other material: it cuts out the aimless wandering and most of the ambient filler, amps up the riffs and makes them the focal point, and narrows the band’s range of motion in order to make the transitions more fluid. At the Gate of Sethu is Nile’s least pretentious album, so don’t let the fact that this isn’t a fan favorite stop you from giving it the attention it deserves.

PS: Any complaints about “not being able to hear the bass” on this album are bullshit as per usual. To anyone who is saying that: get better speakers.

Rating: 8.6 out of 10

Review by Nathan on November 14, 2023.

This was the review in this series I was most excited to write, because At the Gate of Sethu might be the only album where my opinion is in stark contrast to the general fan perception. Sure, I don’t like most of the pre-Annihilation of the Wicked albums, but they have their share of detractors and everyone (including myself) still generally agrees that Annihilation is hands down their best record (with Those Whom the Gods Detest occasionally being mentioned as a distant second). Sethu, on the other hand, got a very poor fan reception. I recall browsing forums and such when this was released, and seeing scathing criticisms lambasting their lack of effort, that this was nothing new, poor production, etc. any time the album was discussed. Nowadays, even looking through the filter of time, most consider Sethu the unquestionable weak point of Nile’s discography.

This is puzzling to me. For one thing, it fuckin’ rips. Not only that, but the awkward songwriting that handicapped the band before is near absent, as these songs rip in a way that is direct, concise, and forceful. The transitions are smooth, the cheesiness has been (mostly) bled out of their atmospheric tendencies, and technically this is as exhausting and carpal-tunnel-inducing as anything the band’s written. If anything, this might be the only Nile album that’s consistently solid all the way through and doesn’t have a single moment that’s straight-up boring (even their best albums fell victim to this, if only for a short period). Am I listening to the same thing everyone else is or what?

The only theory that even partially explains the general opinion of Sethu is that it was a reactionary response to the warm, layered ambiance of the previous album. In all fairness, on Those Whom the Gods Detest it finally sounded like Nile was actually getting the hang of the whole “integrating Egyptian music and mythos with death metal” thing and not having it sound contrived or slapped together. Not only that, but Gods had their best production job (probably a big part of why it felt less hokey), and Sethu opts for a thin, treble-heavy tone that’s a lot closer to what you would have heard on Ithyphallic. It has a bit less oomph, so I can understand why it might have felt like a letdown - when you play Gods and Sethu back to back, the shift between the production styles is jarring without a doubt. Two tracks in, however, it’s apparent that the guitar tone choice was to showcase the finger acrobatics, of which there are many - and for once, they weave a thread you can follow.

It wouldn’t have made as much sense to have the big, warm tones that the previous release did on Sethu because the album doesn’t give as much focus to the Egyptian themes. It’s still Nile, mind you, but another reason why this may have gotten some extra flak from fans is because it dials up the “death metal” side of the music which comes at the expense of their whole hieroglyphic shtick. The ambience is relegated to more occasional interludes and every time you think they’re going to drag a boring slow song on too long so they can flesh out some more contrived atmosphere, Kollias kicks it into high gear again and you’re back to getting your face fucked with riffs. And the riffs sound mean as hell! Even with the beefed up noodling, this is the most direct and purposeful the guitarwork has sounded since Annihilation of the Wicked. It doesn’t sound like the speedy verse licks Sanders loves are just random jumbles of notes in a Middle Eastern scale, they actually repeat distinct and memorable motifs.

I suppose this is the part of the review where I should say that I’m already a big fan of tech death (it’s one of my favorite subgenres, if not my absolute favorite), so that may be why I’m biased towards this album. It amended all of my beefs with Nile’s other material: it cuts out the aimless wandering and most of the ambient filler, amps up the riffs and makes them the focal point, and narrows the band’s range of motion in order to make the transitions more fluid. At the Gate of Sethu is Nile’s least pretentious album, so don’t let the fact that this isn’t a fan favorite stop you from giving it the attention it deserves.

PS: Any complaints about “not being able to hear the bass” on this album are bullshit as per usual. To anyone who is saying that: get better speakers.

Rating: 8.6 out of 10

Review by Adam M on October 18, 2025.

This metal platter shows Nile refining their sound of Egyptian based metal and releasing what is possibly their most complete album to date. It is ferocious and very aggressive and one of the most impressive displays of death metal of recent times. It takes the template laid down by earlier albums and increases the stakes by a great amount to great a wonderful and epic cacophony.

The musicianship on the album is very solid and has a great deal of guitar usage that is skilled and expertly performed. Add in expertly performed drums and singing and this is one of the most interestingly performed death metal albums of recent times. It has good production and is a good picture of what Nile can achieve at the moment.

The flaw to the album lies in how it does not advance the previous displays of Nile to altogether outstanding heights completely. Instead, it is a minor refinement of previous virtues and simply another excellent album to add to their canon. It isn’t as strong as In Their Darkened Shrines, for example, but still very compelling.

Overall, this was a fun and thoughtful display of death metal that is one of the more complete releases of the genre in recent times. It is passionately performed and an excellent amalgamation of sounds for the band. Fans of the band’s previous work will find a lot to like here.

Rating: 7.5 out of 10

Review by Jeger on August 24, 2024.

From South Carolina, USA to Egypt and even through time has Nile’s music taken their devout followers as the band has so adamantly detailed ancient Egyptian mythology throughout their career. And why not? Great mysteries surrounding pyramids that may or may not have been built by human hands, the Pharaohs, the Gods! And the myth surrounding it all like something tailor-made for death metal. Brilliant concepts set to DM of an intangible consort. The talent and the vision that formulates Nile’s records have always been something untouchable, even by some of the best tech outfits out there, and now, as we wallow in pre-cataclysm days of total chaos/discord, an escape into where life cycles toward judgment and the Underworld unfurls. On August 23, Nile released The Underworld Awaits Us All via Napalm Records. 

An engineering muse is The Underworld Awaits Us All, but also a clinic in refined yet brutal technical death metal. Produced at founding member Karl Sanders’ own Serpent Headed Studios and engineered once again by Mark Lewis (Cannibal Corpse, Dying Fetus), this one comes in crisp and layered perfectly. No comparisons as no one does death metal like Nile: the musicianship, the concepts, and the capturing of the ancient essence as translated through gorgeous strings in the interlude, 'The Pentagrammathion Of Nephren-Ka' that evoke images of great chambers aglow by torchlight and instill a feeling of total mystification as you take in such simple yet shimmering soundscapes. Carrying over into the following track, 'Overlords Of The Black Earth' with brutality and unmatched percussive prowess now in this the album’s most savage offering. 

George Kollias - one of the world of extreme metal’s most complexly adept percussionists does a little more than set the foundation - more like an establishment of complete dominance: rapid time changes, air-tight blasts, and what’s usually described as “hold my beer” drumming. However, this is not some Archspire abomination of a tech record. What separates Nile from the rest is something that I always talk about, and that is class, which some are born with while others attain this character trait through time/experience. With Karl and Nile, tech dazzlery comes second to concept and vision. You’ll experience technicality on another level, but it’s grounded in fundamentals like form-fitting solos, a little melody, and some old-fashioned epic intros to counterbalance the madness. 

Nile have gradually evolved from a power trio to a dominant five-piece over the past nine years and the music has only become more nuanced and dynamic as a result, but then we have 'True Gods Of The Desert'. A hearty groove-dominated, mid-tempo bruiser devoid of all the bells and whistles, but instead like a doom metaller’s wet dream as mammoth riffs set to monolithic rhythms grind and bludgeon you helplessly to your knees before Anubis - God of the afterlife and judgment. An opus! A little something to write home about is 'The Underworld Awaits Us All'. Kidding, this thing is fucking acclaim-worthy to the max and probably this band’s greatest achievement. A vision of the Kemitian afterlife brought realized through magisterial musicianship and uncompromising recording standards. 

The world as we know it today is an awful place. We could’ve only been so fortunate as to have lived during ancient days; knowing that the afterlife awaits. Thankfully, we have DM bands like Nile who provide that aforementioned and much-needed escape from the everyday. The Underworld Awaits Us All - that pinnacle of achievement that comes only after decades of toiling is just around the corner and man is it sweet… FFO Nile…

Rating: 9.5 out of 10

Review by Adam M on October 18, 2025.

This metal platter shows Nile refining their sound of Egyptian based metal and releasing what is possibly their most complete album to date. It is ferocious and very aggressive and one of the most impressive displays of death metal of recent times. It takes the template laid down by earlier albums and increases the stakes by a great amount to great a wonderful and epic cacophony.

The musicianship on the album is very solid and has a great deal of guitar usage that is skilled and expertly performed. Add in expertly performed drums and singing and this is one of the most interestingly performed death metal albums of recent times. It has good production and is a good picture of what Nile can achieve at the moment.

The flaw to the album lies in how it does not advance the previous displays of Nile to altogether outstanding heights completely. Instead, it is a minor refinement of previous virtues and simply another excellent album to add to their canon. It isn’t as strong as In Their Darkened Shrines, for example, but still very compelling.

Overall, this was a fun and thoughtful display of death metal that is one of the more complete releases of the genre in recent times. It is passionately performed and an excellent amalgamation of sounds for the band. Fans of the band’s previous work will find a lot to like here.

Rating: 7.5 out of 10

Review by Jeger on August 24, 2024.

From South Carolina, USA to Egypt and even through time has Nile’s music taken their devout followers as the band has so adamantly detailed ancient Egyptian mythology throughout their career. And why not? Great mysteries surrounding pyramids that may or may not have been built by human hands, the Pharaohs, the Gods! And the myth surrounding it all like something tailor-made for death metal. Brilliant concepts set to DM of an intangible consort. The talent and the vision that formulates Nile’s records have always been something untouchable, even by some of the best tech outfits out there, and now, as we wallow in pre-cataclysm days of total chaos/discord, an escape into where life cycles toward judgment and the Underworld unfurls. On August 23, Nile released The Underworld Awaits Us All via Napalm Records. 

An engineering muse is The Underworld Awaits Us All, but also a clinic in refined yet brutal technical death metal. Produced at founding member Karl Sanders’ own Serpent Headed Studios and engineered once again by Mark Lewis (Cannibal Corpse, Dying Fetus), this one comes in crisp and layered perfectly. No comparisons as no one does death metal like Nile: the musicianship, the concepts, and the capturing of the ancient essence as translated through gorgeous strings in the interlude, 'The Pentagrammathion Of Nephren-Ka' that evoke images of great chambers aglow by torchlight and instill a feeling of total mystification as you take in such simple yet shimmering soundscapes. Carrying over into the following track, 'Overlords Of The Black Earth' with brutality and unmatched percussive prowess now in this the album’s most savage offering. 

George Kollias - one of the world of extreme metal’s most complexly adept percussionists does a little more than set the foundation - more like an establishment of complete dominance: rapid time changes, air-tight blasts, and what’s usually described as “hold my beer” drumming. However, this is not some Archspire abomination of a tech record. What separates Nile from the rest is something that I always talk about, and that is class, which some are born with while others attain this character trait through time/experience. With Karl and Nile, tech dazzlery comes second to concept and vision. You’ll experience technicality on another level, but it’s grounded in fundamentals like form-fitting solos, a little melody, and some old-fashioned epic intros to counterbalance the madness. 

Nile have gradually evolved from a power trio to a dominant five-piece over the past nine years and the music has only become more nuanced and dynamic as a result, but then we have 'True Gods Of The Desert'. A hearty groove-dominated, mid-tempo bruiser devoid of all the bells and whistles, but instead like a doom metaller’s wet dream as mammoth riffs set to monolithic rhythms grind and bludgeon you helplessly to your knees before Anubis - God of the afterlife and judgment. An opus! A little something to write home about is 'The Underworld Awaits Us All'. Kidding, this thing is fucking acclaim-worthy to the max and probably this band’s greatest achievement. A vision of the Kemitian afterlife brought realized through magisterial musicianship and uncompromising recording standards. 

The world as we know it today is an awful place. We could’ve only been so fortunate as to have lived during ancient days; knowing that the afterlife awaits. Thankfully, we have DM bands like Nile who provide that aforementioned and much-needed escape from the everyday. The Underworld Awaits Us All - that pinnacle of achievement that comes only after decades of toiling is just around the corner and man is it sweet… FFO Nile…

Rating: 9.5 out of 10