All my reviews of Nile’s previous works are glowing, but I can’t say enough about this album. Taking the best elements of “Amongst the Catacombs of Nephren-Ka” and “Black Seeds of Vengence”, Nile has produced what will most definitely be the most creative and best death metal album of 2002 (sorry Suffocation!). They took out a little bit of the overproduction from BSoV and managed to even expand on the intensity presented in ATCoN so that EVERY song from start to finish, whether it was an instrumental piece (of which there are two) or not, is absolutely relentless. They also added, as another reviewer mentioned, some more low end sound so that you can really hear the boom of the bass guitar, especially in songs like “Unas Slayer of the Gods” and “I Whisper in the Ear of the Dead”. Something that has to be pointed out as one of the highlights of the album is the fact that the drumming is so varied. Another reviewer complained of this as though it sounded like the drummer was soloing the whole time, but this honestly adds some fantastic variety to the album. Rather than hearing simple blast beats the entire time, you get a multiplicity of approaches to the drumming in this album, all of which rock. This is especially present in (once again) “Unas Slayer of the Gods” and “Winds of Horus”. “Winds of Horus” has some of the fastest drumming I’ve ever heard on an album (easily competing with the likes of Dave Lombardo, Gene Hoglan, Pete Sandoval and even Nick Barker of Dimmu Borgir, ex-Cradle of Filth fame), and it is also worth mentioning that on this particular song it is good to see that the guitars make plenty of use of the higher strings when implementing the Egyptian chord structures for that scale. A very nice touch. Song four, “Kheftiu Asar Butchiu” also includes a number of groove driven sections similar to the likes of maybe Carnal Forge. The vocals are also especially great on all the songs since each member contributes to the vocal duties, and it is obvious that each member has a bit of a different approach to the vocals adding even more variety along with the aforementioned drumming.Also, “Unas Slayer of the Gods” will definitely remain as one of the best death metal songs of all time, considering it has elements of everything whether it’s amazing blast beats, technical riffing, or great melody during the slower parts of the song. Simply the fact that this song is roughly a 12 minute opus of death metal ecstasy should garner this song praise and raise a few eyebrows in the process. The two instrumental pieces, “Hall of Saurian Entombment” and “Ruins”, also help add great atmosphere to this album without being overly produced or boring. One more thing to point out is that a few influences are very obvious on this album, most notably the Morbid Angel riffing styles present in songs like “I Whisper in the Ear of the Dead” which is very reminiscent of the doomy Morbid Angel song “Summoning Redemption” off the “Gateways to Annihilation” album. All things considered, this album is one of the most worthy efforts produced in the death metal scene for a while, and anyone who enjoys the genre should not hesitate in at least checking out some samples of this disc if not buying it right away.Easily the most creative death metal album of the year.