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AndyThomas 🎵🎻🎵 @[email protected] · 2023-01-08 · 16:52 UTC

#goldencheetah #xert #strava

AndyThomas 🎵🎻🎵 @[email protected] · 2023-01-08 · 16:52 UTC

#goldencheetah #xert #strava

AndyThomas 🎵🎻🎵 @andythomas · 2023-01-08 · 16:52 UTC

#goldencheetah #xert #strava

AndyThomas 🎵🎻🎵 @[email protected] · 2023-01-08 · 16:52 UTC

https://www.youtube.com/watch?v=p-bd_NP-90g

#goldencheetah #xert #strava

AndyThomas 🎵🎻🎵 @[email protected] · 2022-11-29 · 09:13 UTC

Top Tip

If any of you have premium YouTube and are paying £15.99/month through the apple store. You can pay £11.99 via Google direct. Same in $

It's the cheeky 30% apple tax

Here's how to change it

Like the numpty I am I've been paying the £15.99 up until now

Worth boosting

#appletax #youtube #savemoney

#savemoney #youtube #appletax

AndyThomas 🎵🎻🎵 @[email protected] · 2022-11-24 · 18:23 UTC

@grimethorpeband

Not Grimethorpe or a colliery band I'm afraid, but this is also a magnificent arrangement.

When I first heard it I thought it was them

https://www.youtube.com/watch?v=H59fl_A_Oyg

#brassbands #brassband

#brassband #brassbands

AndyThomas 🎵🎻🎵 @[email protected] · 2022-11-23 · 19:59 UTC

@grimethorpeband

We're so lucky to live in the dales.

If anyone is in any doubt as to just how good brass bands can be and hasn't seen the film, take a listen to this.

What an arrangement!

https://www.youtube.com/watch?v=6F5vBsY9VZ8

'nowt better 😀

#music #brassbands #yorkshire #yorkshireviews

#yorkshireviews #yorkshire #brassbands #music

AndyThomas 🎵🎻🎵 @[email protected] · 2022-11-23 · 19:52 UTC

Just had @grimethorpeband like one of my toots of Simon's Seat

Massive thank you for "Brassed Off", the film was brilliant but above everything the music was outstanding.

#music #brassbands #yorkshire

#yorkshire #brassbands #music

Angry Metal Guy @[email protected] · 2025-05-30 · 15:51 UTC

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

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

#americanmetal #blackcrowninitiate #cyborgoctopus #deathmetal #may25 #metalbladerecords

Angry Metal Guy @[email protected] · 2025-05-30 · 15:51 UTC

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

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

#americanmetal #blackcrowninitiate #cyborgoctopus #deathmetal #may25 #metalbladerecords

Angry Metal Guy @[email protected] · 2025-05-30 · 15:51 UTC

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

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

#riversofnihil #reviews #review #progressivemetal #mushroomhead #metalbladerecords

Angry Metal Guy @[email protected] · 2025-05-30 · 15:51 UTC