Nile is a Technical Death Metal band from South Carolina, USA, founded in 1993. They have a Egyptian theme (hence the name), and many of their lyrics deal with Ancient Egyptian history and mythology. They also use themes of Lovecraftian horror.
Festivals of Atonement (EP, 1995)
Ramses Bringer of War (EP, 1997)
Amongst the Catacombs of Nephren-Ka (1998)
Black Seeds of Vengeance (2000)
In The Beginning (2000, compilation of the Festivals and Ramses EPs)
The Dominion of Seker Barren Desert of Eternal Night
The liner notes state that Afu-Ra's boat, and by extension the sun, actually navigates around Seker's kingdom rather than attempting to sail through, because of how difficult the navigation would be.
Audience Participation Song: A lot of their songs, most prominently "Black Seeds of Vengeance," and "4th Arra of Dagon," where, during the outro chants of the songs, the band will often step away from the microphones and chant along with the crowd.
Badass Bookworm: Karl Sanders is a walking encyclopedia of Egyptian mythology and history. He even has a personal library filled with Egyptology books.
Bilingual Bonus: Discussed in the liner notes for "Von Unaussprechlichen Kulten". Karl notes that the English (Nameless Cults) and German (Unaussprechlichen Kulten) translations of the book's title, as conceived respectively by Robert E. Howard and August Derleth, members of H.P. Lovecraft's circle of collaborators, don't precisely match with each other. He lists the literal translation of "Unaussprechlichen Kulten" as being "Unpronounceable Cults", appropriate for a (fictional) book that concerns itself with the followers of Eldritch Abominations whose names were beyond humanity's ability to correctly pronounce. (other sources note "Unnameable" and "Unspeakable" as other viable translations for Unaussprechliche(n), all of these again being appropriate given the subject matter). He also notes that the name "Unaussprechlichen Kulten" is actually grammatically incorrect in German, and even notes a debate he had with himself over whether to stick to this incorrect name or add the German word "Von" (Of) to the front of the name, which would make it correct. (clearly, he went with the correct version)
Came Back Wrong: "The Essential Salts" describes how to turn a dead body into the eponymous salts and bring the dead person back to life. Unfortunately the salts sometimes get contaminated, resulting in "something that is part man and part whatever gnawed his corpse".
Doom Metal: In addition to their technical blasters and epics, Nile usually has about one or two death/doom metal songs per album.
"There is no god but God! There is no god but God!"
"THERE IS NO GOD but the one true God! THERE IS NO GOD but the hidden God!"
And in case the above lines weren't clear enough, next up is
THERE IS NO GOD!
Gorn: Like many death metal bands, their lyrics sometimes feature very graphic descriptions of death, mutilation and the torture-filled afterlife.
Which makes it extra creepier because they actually did that back then.
The song Masturbating The War God takes the two words that form this trope and mix them to their logical conclusion, featuring captive women of conquest being impaled upon the "massive stone member" of the aforementioned God statue, along with some other details that won't be repeated here.
The song "Ithyphallic" also has highly gorn lyrics, specifically "anoint my phallus with the blood of the fallen"
Ithyphallic even means to have the penis erect.
The song "Cast Down The Heretic" feature some pretty nasty lyrics as well, involving smashing of vertebrae, vomit, dismemberment, and the immolation of internal organs.
The song "SSS Haa Set Yoth" mentions "violent sexual atrocities of which none dare speak" being perpetrated by nightmarish reptilian precursors.
Hey, It's That Voice!: You'd be forgiven for not actually hearing Immolation vocalist Ross Dolan doing guest vocals on "Khetti Satha Shemsu", since it's one voice in a small chorus of them. The liner notes, both for Black Seeds of Vengeance (which features the song) and later Those Whom The Gods Detest, do confirm his presence (the latter also cite him and Immolation lead guitarist Bob Vigna as inspiring the idea of the expanded notes detailing the background of the songs).
"Unas Slayer of the Gods" is an almost word-for-word transcription of the "cannibalism texts" of Pharaoh Unas' tomb, wherein the graphic depiction of him murdering and consuming the entrails of the gods is found.
Black Seeds of Vengeance has "Invocation of the Gate of Aat-Ankh-es-en-Amenti" and "Libation Unto the Shades Who Lurk in the Shadows of the Temple of Anhur".
In Annihilation of the Wicked, there's "Dusk Falls Upon the Temple of the Serpent on the Mount of Sunrise".
Ithyphallic brings us "Papyrus Containing the Spell to Preserve Its Possessor Against Attacks From He Who Is in the Water".
And in Those Whom the Gods Detest, there's "Permitting the Noble Dead to Descend to the Underworld", followed by "Yezd Desert Ghul Ritual in the Abandoned Towers of Silence".
The worst offender, so far, is the track 6 of AotW. Are you ready? Here goes: "Chapter of Obeisance Before Giving Breath to the Inert One in the Presence of the Crescent Shaped Horns".
And At the Gate of Sethu is no slouch either, including "The Fiends Who Come to Steal the Magick of the Deceased", "The Gods Who Light Up the Sky at the Gate of Sethu", and "Natural Liberation of Fear Through the Ritual Deception of Death". If anything, Nile is very explanatory in their song titles.
Oddly enough, this is thoroughly averted by their Epic Rockers - their titles are all five words or less. In fact, the band's first two epics, off the Festivals of Atonement EP, both had one word titles - "Wrought" and "Extinct". Meanwhile, "Invocation of the Gate..." and "Dusk Fall Upon the Temple..." are both acoustic/ambient intro tracks to their respective albums, and come out under one minute apiece, and many of the other straight examples are three minutes or less.
Loudness War: Most noticeable on Those Whom the Gods Detest and it's VERY loud drum parts, which were mastered by War criminal Erik Rutan. Also listen to just about any acoustic section from Darkened Shrines onward - they tend to be brickwalled to about the same volume as the actual death metal parts.
Lying Creator: Karl accidentally stumbled into this when he claimed on a fan forum that there would be no Epic Rocking on Annihilation of the Wicked, only for them to produce a record three such songs without really meaning to. The first of them, "User-Maat-Re", apparently started off in the six-minute range, until Karl let Dallas tinker around with it for a little while, at which point he returned with the nine minute version heard on the album.
Miniscule Rocking: They do a good bit of this, too. Most (but not quite all) of their ambient/acoustic interludes are under two minutes.
Neoclassical Punk Zydeco Rockabilly: Invoked in the instrumental "Ethno-Musicological Cannibalisms"; Karl says in the liner notes that he intentionally combined different instruments and styles that weren't "supposed" to go together.
Nobody Loves the Bassist: Jon Vesano was an integral part of the band. Ever since he left, they've been through a fairly large amount of bassists, most of them hired guns for live sessions, with only Chris Lollis and Joe Payne having received any sort of recognition due to their work in Lecherous Nocturne and Divine Heresy, respectively (and the drug trafficking arrest of the latter in 2012, where he was caught with $26,000 worth of marijuana, as well as three handguns and $5,000 in cash).
No Export for You: The song "SSS Haa Set Yoth" currently can be found on the Japanese version of Annihilation of the Wicked and nowhere else.
One of Us: In the liner notes for Those Whom the Gods Detest, Karl mentions the Nazi Zombie levels from Call of Duty. Apparently the zombies behave similarly to the title creatures in "Utterances of the Crawling Dead".
Also, on his second solo album, there is a song called A Most Effective Exorcism against Azagthoth and his Emissaries, which features a drum sample from the Gerudo Desert theme song from The Legend of Zelda: Twilight Princess.
The Pete Best: John Ehlers, the band's original second guitarist.
Whose Work is Nothing Less than the Annihilation of the Wicked.
On Their Blocks,
They Cut into Pieces the Flesh of the Dead,
Singing Hymns of Torture and Mutilation to Their Master.
Accompanied by the Wailings and Anguish of the Damned.
Revolving Door Band: For a while, as Karl and Dallas went through myriad drummers and bassists before finally settling on Kollias for the former, though this trope is still very much in effect for the latter.
Averted on the band's two early EPs and the first full length release, Amongst The Catacombs of Nephren-Ka, when the original line-up of Sanders, Chief Spires on bass and Pete Hammoura on drums was fully intact (and Dallas wasn't even a member until after Catacombs was recorded). It was a career-ending injury to Hammoura while recording Black Seeds of Vengeance that set the revolving door in motion, with Spires leaving just after due to personal and creative differences stemming from Hammoura's injury.
Sadly Mythtaken: Notably averted, Karl Sanders actually has a deep knowledge in Egyptian and Mesopotamian mythology, actually going so far as to tell the meaning behind the songs in the booklets.
Sealed Evil in a Can: "Annihilation of the Wicked" describes the death god Seker as being entombed in the depths of his own chamber. Oddly enough, though, even his own subordinates have little motivation in actually unsealing him.
Shout-Out : The H.P. Lovecraft circle receives homage from this band in many of their songs, Karl Sanders himself shows his interest by talking about the references of the Myths in Nile's albums.
Soprano and Gravel: Sort of. Karl is known for his exceptionally low growl, while Dallas is known for his higher, raspier howls. The Fiends Who Come to Steal the Magick of the Deceased plays this straight, however, thanks to Mike Breazeale's guest vocals.
Derek Roddy on Black Seeds of Vengeance, since he was hastily recruited mid-session to replace Pete Hammoura after the latter's injury.
Steve Tucker, fresh out of Morbid Angel after David Vincent's return, was the first in a long line of tour-only bassists after Jon Vesano's departure. He was gone by the end of the U.S. Annihilation tour.
Time Abyss : Some of the creatures referred in the songs (eg: SSS Haa Set Yoth) seems to have been alive (or whatever equivalent it is in their nature) since even before man appeared on Earth:
Lurking Among Us Hidden in Obscurity, Descended from the Dawn of the Ages...
The song "Black Seeds of Vengeance" features the lyrics:
"We shall blot out the remembrance of Amalek from under the sky!"
"Cast Down The Heretic" is this as well, basically depicting the Amen-Ra priesthood executing Akhenaten in the gorniest way possible and then obliterating all evidence of his rule and religion.
Voice of the Legion: Every now and again, most notably "4th Arra of Dagon" and "Khetti Satha Shemsu".
"Well Done, Son" Guy: "User-Maat-Re" depicts Pharoah Ramses II'snote aka "User-Maat-Re Setep-en-re", hence the title exploits as a desperate attempt to gain the favor of his dead father, Seti I. These exploits included the conquest of vast swaths of territory and launching a campaign of temple- and monument-building unmatched for sheer quantity.note although the liner notes indicate the quality was somewhat lower than certain predecessors of Ramses The song nonetheless depicts the spectre of the late Seti as being eternally unsatisfied with his son ("User-Maat-Re, thou hast done nothing"), in turn driving Ramses to ever greater heights (or depths, if one views this as insanity).