Many death metal fans lovingly respond the crushing brutality of Nile. While flipping the grueling, metallic sides of Nile’s lamenting of Egyptian subject matter, you would find additional artistic terrain to be unearthed. Nile’s Karl Sanders decided to funnel some experimental material into two ambient works, Saurian Meditation (2004) and Saurian Exorcisms (2009). The following isn’t a review of the records but is a revisiting of Saurian Meditation, which is fit for extreme metal buffs and those craving the simplicity of the mystique.
Being extremely fond of traditional instruments, a musical treasure had been found as I gave a listen to Saurian Meditation. The Egyptian and Middle Eastern vibe of Nile continues, but the strummed strings, soft vocals and subdued percussion replace the fury that’s unique to metal. Sanders incorporates the bağlama with other instruments, and the record features the mesmerizing vocals and chants from Mike Breazeale. Even though it’s classified as ambient, I almost envision Saurian Meditation becoming a well-received find for folk metal fans or even those into experimental-oriented outfits.
I have yet to dig into Sanders’ second release but have been excitedly sampling pieces from Saurian Mediation; so far, I’ve nabbed some favorites that are wonderfully captivating and calming; I’ll leave you with “Of the Sleep of Ishtar,” “Luring the Doom Serpent” and “Awaiting the Vultures”:
“Of the Sleep of Ishtar”
“Luring the Doom Serpent”