Rivers of Nihil’s self-titled fifth album, released on May 30, 2025, via Metal Blade Records, is a monumental chapter in the Pennsylvania progressive death metal band’s 16-year career. Following significant lineup changes: vocalist Jake Dieffenbach and guitarist Jon Topore departed, with bassist Adam Biggs taking on lead vocals and former Black Crown Initiate guitarist Andy Thomas joining the ranks, Rivers of Nihil feels rebirth. Clocking in at 52 minutes across 11 tracks, the album distills the band’s technical ferocity, progressive ambition, and melodic sensibilities into a cohesive, dynamic package. It bridges the raw death metal intensity of their early works (The Conscious Seed of Light, Monarchy) with the experimental, atmospheric motifs of Where Owls Know My Name and The Work. All the while, it introduces a newfound maturity in songwriting and pacing.

Background

Rivers of Nihil has long been a standout in the progressive death metal scene, evolving from the tech-death brutality of their 2013 debut to the genre-pushing masterpiece Where Owls Know My Name in 2018, which introduced saxophone and a wider sonic palette. Where Owls Know My Name was their magnum opus, in my opinion. However, the departure of key members after 2021’s The Work raised questions about the band’s future. Adam Biggs’ transition to lead vocals, alongside Andy Thomas’ addition, brings fresh energy while maintaining the band’s core identity, driven by guitarist Brody Uttley, drummer Jared Klein, and Biggs’ bass work. Recorded at Atrium Audio with producers Carson Slovak and Grant McFarland, Rivers of Nihil reflects a band unafraid to confront change, both musically and personally, while staying true to their progressive roots. The album’s self-titled nature signals confidence and that this is the definitive Rivers of Nihil sound in 2025.

The Highlights

Rivers of Nihil opens with The Sub-Orbital Blues, a single that instantly grabs attention with its blend of accessibility and aggression. The track kicks off with Brody Uttley’s intricate, razor-sharp riffs and Jared Klein’s relentless blast beats, but it’s the clean vocal chorus: featuring Andy Thomas’ soaring melodies layered over Adam Biggs’ guttural roars that makes it unforgettable. The saxophone, courtesy of guest musician Patrick Corona, weaves through the mix, adding a jazzy, almost ethereal feel. This track sets the tone for the album’s ability to balance catchy hooks with technical prowess, making it an ideal entry point for new listeners and equally enthralling for longtime listeners.

The album’s standout tracks, House of Light and Water & Time, showcase Rivers of Nihil’s progressive evolution. House of Light is a nine-minute epic, blending ethereal saxophone passages, clean vocal harmonies, and crushing death metal riffs. The song’s dynamic shifts, from serene, almost post-rock interludes to brutal, double-kick-driven assaults create a cinematic experience that feels like a journey through light and shadow. House of Light is my personal favorite track. It was my favorite single when it was released and never got old. I’ve been singing the chorus like crazy, it’s so damn catchy! Water & Time, meanwhile, leans into a brooding, post-metal atmosphere, with synth-driven interludes and a soaring chorus that recalls the emotional heft of The Work. Biggs’ vocal performance here is particularly striking, balancing raw aggression with melodic vulnerability, proving his capability as a frontman.

For fans of the band’s heavier side, tracks like Dustman, Criminals, and Evidence deliver unrelenting intensity. Dustman is a juggernaut, with Klein’s ferocious drumming and Uttley’s technical guitar work creating a wall of sound that’s both chaotic and precise; like finding harmony in dissonance, it’s beautiful. Criminals takes a darker turn, juxtaposing eerie whispered vocals with punishing breakdowns, while Evidence harkens back to the band’s early tech-death roots with its bone-saw like riffs and relentless pace. Melodic reprieve awaits in all three tracks, ensuring they don’t feel one-dimensional.

However, the album isn’t without flaws. They are non-fatal flaws though! Tracks like American Death and The Logical End don’t quite maintain the momentum of the opening half. American Death feels slightly derivative, with lyrical nods to Mushroomhead’s Eternal that seem out of place in the band’s otherwise original framework. Don’t get me wrong, it’s a cool nod, just out of place. Similarly, The Logical End suffers from repetitive choruses and, in comparison to the other tracks, uninspired guitar work, making it a less memorable moment in an otherwise fantastic tracklist. To analogize, think of it like the Escape off of Ride the Lightning. Still a great song, just not as memorable as the rest of the album!

The album closes with the self-titled Rivers of Nihil, a concise three-and-a-half-minute summation of the band’s identity. This track blends sinister synth atmospherics, harmonious clean vocals, and bruising aggression, fading out with a ticking clock and ominous tones, a poetic nod to the band’s reflection on time, change, and reinvention. It reminds me very much of the intro and outro of Scenes From A Memory by Dream Theater with the ticking clock. It’s a fitting capstone that leaves listeners both satisfied and hungry for more.

Lyrical Themes and Emotional Impact

Lyrically, Rivers of Nihil explores themes of time, transformation, and existential reflection. This is a continuation of the band’s tradition of weaving philosophical concepts into their music. Tracks like Water & Time and House of Light grapple with the passage of time and humanity’s place in the cosmos, with lines that balance poetic introspection with visceral imagery. Biggs’ vocal delivery enhances these themes, his growls conveying raw emotion and his clean vocals adding a layer of vulnerability. While some tracks, like American Death, lean on more straightforward societal critiques, the album’s lyrical strength lies in its ability to evoke universal questions about identity and legacy, resonating with listeners on a deeper level.

My Final Thoughts

Rivers of Nihil is a perfect example of reinvention, blending the band’s technical death metal roots with progressive experimentation and melodic hooks. Tracks like The Sub-Orbital Blues, House of Light, and Water & Time showcase a band at the height of their powers, while the production and guest instrumentation elevate the album’s sonic palette. Though it stumbles ever so slightly in its back half, the record’s strengths far outweigh its weaknesses, making it a career highlight and a must-listen for fans of progressive death metal. Whether you’re a longtime follower or a newcomer, Rivers of Nihil offers a compelling, emotionally charged journey that solidifies the band’s place at the forefront of the genre. I unironically believe this album is a contender for album of the year. It is their best album to date, no question. Give it a listen!