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Exclusive: THIRTEEN GOATS Premieres “Animal Kingdom” Music Video

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Rivers of Nihil – Rivers of Nihil Review

By ClarkKent

With the decision to make their fifth album self-titled, Rivers of Nihil signal a rebirth of their sound—both 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), who lends his guitars as well as a significant vocal presence. It’s no secret that Rivers of Nihil’s prior albums haven’t met the warmest reception at AMG headquarters, but Kronos 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?

In their latest iteration, Rivers of Nihil 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 and The Work. Tracks are more repetitive, coupled with industrial beats and simple chugging riffs. Not that many lauded Rivers of Nihil for their killer riffage—the inability to strum actual tunes was a constant complaint throughout Kronos’s reviews. The addition of Andy Thomas’s cleans and the return of the saxophone (handled by Patrick Corona of Cyborg Octopus) help offset this problem to an extent. Songs like “The Sub-Orbital Blues” work despite the simple guitar work due to its high energy on the drums, the seamless blending of Thomas’s and Biggs’s singing, and some sexy sax riffs. Rivers of Nihil is at its best when it embraces its proggy side. Songs like “Water & Time” and “House of Light” balance the gentle, the rough, and even the uplifting as Thomas belts out some stunning choruses.

Bringing Andy Thomas aboard was a brilliant move. His presence lifts good songs and even elevates some mediocre ones, like “Despair Church,” where his soaring croons deliver a gut punch. This isn’t to say anything against Adam Biggs, whose growls are punchy and effective. Rivers of Nihil are most effective when songs highlight the contrast between Biggs and Thomas. Also brilliant was giving Corona’s 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. “House of Light” 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 down.

While the front half is more mixed, the back half of Rivers of Nihil (except “House of Light”) takes a nosedive. Here, the band’s 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 “American Death.” 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, “I can’t believe anything you say,” is word-for-word the same as the chorus on Mushroomhead’s “Eternal,” and the delivery is also uncannily similar. Even the album’s strongest elements fail to overcome the tedium of these final tracks. For example, the sax solo in “The Logical End” 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—it still stinks.

As a fan of Rivers of Nihil’s previous work, I had higher hopes when I plucked this from the promo bin. Rivers of Nihil likely won’t deter the band’s 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 is now at a crossroads. They can build upon the progressive foundations of “Water & Time,” or develop the energetic fun of “The Sub-Orbital Blues,” or continue the unimaginative performances of “The Logical End.” One can hope they can strike a balance between the first two options and leave the last one behind.

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

#20 #2025 #AmericanMetal #BlackCrownInitiate #CyborgOctopus #DeathMetal #May25 #MetalBladeRecords #Mushroomhead #ProgressiveMetal #Review #Reviews #RiversOfNihil

Cyborg Octopus – Bottom Feeder Review

By Kenstrosity

San Francisco’s Cyborg Octopus found a happy home with this sponge way back in 2018. Debut full-length Learning to Breathe floored me with a fearless application of kitchen-sink, genre-bending exuberance, all filtered through a tech-death/metalcore lens. It’s difficult to craft music like this in a way that doesn’t feel disjointed, but Cyborg Octopus skillfully arranged their kaleidoscopic writing to form a cohesive sound and thereby ensured my rapt attention once follow-up triumph Between Light and Air was released in 2022. Once again, these Bay Area musicians successfully subverted my expectations of what metal can do with distinctly non-metal styles while still boasting a uniquely Cyborg Octopus voice. It’s a letdown, therefore, to hear their newest record, Bottom Feeder, sacrifice so much of what made me fall in love with them.

Bottom Feeder differs greatly from its predecessors both in quality and in format. Tech death and metalcore still engage in a passionate, aggressive dance. However, many of the extracurricular activities (funk, disco, chiptune, grind, spaghetti western, surf, you name it) that flavored Learning to Breathe and Between Light and Air so deeply are absent for much of this record’s tight forty minutes. Instead of the legitimate riffs and addicting grooves of the past, mindless chugs, monotonous breakdowns, and rote scales inform a majority of the metallic content comprising Bottom Feeder. There are brief detours from that trend—delightful melodies and light-footed rhythms perking my ears in “Dreamkiller,” “Cyborg Octopus,” “Midas,” and “Gabriel’s Last Meal,” for example—but such moments are short-lived and lack the same brilliance as the previous records’ vibrant explorations of style and sound.

While a clear divide exists between Cyborg Octopus’ latest material and that of their past catalog, talent and skill nonetheless abound. Bobby Carrol showcases immense creativity on his guitar even within the limited metalcore mold implemented on Bottom Feeder. When he isn’t relying on chugging beatdowns, his fantastical and vivid lead work still alights my imagination much like it always has (“Dreamkiller,” “Cyborg Octopus,” “Midas,” “Defective Immediately”). Meanwhile, drummer Josh Mathis is a jack of all trades, seamlessly working in rhythms and patterns from inside and outside the metalverse with an uncanny ease that makes his performance a joy to behold even inside mediocre writing (“Dreamkiller,” “Defective Immediately”). Lead vocalist Ian Forsythe showcased great versatility in previous records, able to swap in and out of any metallic style on a whim. On Bottom Feeder, he restrains himself more often to a hardcore scream I’ll probably never love, in conjunction with theatrical cleans that I’ve learned to like (“The Righteous Waves,” “Afterburner”). Regardless, his consistent, unwavering performance showcases practiced and proper technique (“Cyborg Octopus”). Patrick Corona aquits himself quite well on the keys, saxophone, and additional vocals, complementing Carrol’s guitar melodies as effortlessly as he coalesces with Forsythe’s vocal vitriol (“The Righteous Waves,” “Afterburner,” “The Trench”). Last but not least, bassist Max Coley burbles and chugs in concert with Mathis’ percussion with great aplomb (“Gabriel’s Last Meal”). However, I pine for the adventurous counterpoint he offered on past efforts, as it is sorely lacking here.

Despite Cyborg Octopus’ obvious collective skill level, very little could save Bottom Feeder’s relatively substandard songwriting. Aside from the occasional novel idea scattered here and there, this material reeks of cookie-cutter tropes and tired stereotypes. In the context of Cyborg Octopus’ discography, this poses a significant issue. Knowing how capable they are as a creative force in a genre desperate for innovation, to hear such homogenized music creates an unpleasant wave of disappointment entirely unfamiliar to me after spinning a new Cyborg Octopus record. I’ve watched these musicians flourish as performers and songwriters across their career, and I’ve seen clear evidence that they love what they do. And yet, Bottom Feeder is so unmemorable for ninety percent of its runtime that even the small sections of the record I like serve only to remind me of past outings, rather than standing out on their own merits.

I don’t relish the thought of negatively comparing a band’s current output with that of their past, as artists are by nature constantly evolving and changing. However, Cyborg Octopus took a regrettable step back with Bottom Feeder, and it’s impossible to ignore its place beneath the triumphs of their back catalog. My hope is that this is an anomaly, a mere road bump in Cyborg Octopus’ journey towards greatness. With this in mind, I return to those vivid soundscapes conjured in Learning to Breathe and Between Light and Air, and anxiously await what new exciting adventures lie in store for Cyborg Octopus.

Rating: Disappointing
DR: 5 | Format Reviewed: PCM
Label: Silent Pendulum Records
Websites: cyborgoctopus.bandcamp.com| facebook.com/CyborgOctopus
Releases Worldwide: September 27th, 2024

#20 #2024 #AmericanMetal #BottomFeeder #CyborgOctopus #Metalcore #Review #Reviews #Sep24 #SilentPendulumRecords #TechnicalDeathMetal