RageI had the unholy pleasure of reviewing this Canadian band’s debut, “Unrelenting Fucking Hatred”, a couple of years ago elsewhere and was utterly annihilated by that albums unending homicidal objectives. “Black Storm Of Violence” is an appropriate album title as this sophomore album continues where the debut left off and if anything the music is more ferocious and inhuman. The brainchild of Alvater this is sold on the basis that Lord Worm (ex-Cryptopsy) is the bands vocal vomiter and a truly hideous job he does too. The short to the point intro of shouting ‘Most Of All, Fuck You” followed by gunshots can more or less give you a straight hint as to what is to unfold during the 45 minutes of demonic aural savagery. Mechanised blasting courtesy of Fredrik Widigs is insane, demented even as the opening tune “Annihilation Frenzy” does what the title says, its onslaught of blackened wrath is rabid, uncontrolled rage set within a warmongering black metal template.

As tacky as it seems the chainsaw sounds that start “A Sino-American Chainsaw War” does its job of setting the scene for the pernicious and virulently berserk music that has old Immortal style murderousness about it. Lord Worm’s vocals are ruthless, as they were on the debut, his screams are terrifying, his growls enough to put dread into a wild beast and his whispering tactics torment the listener like a psychopath hell bent on slaughter. Construction of this album under the premise of total human hatred and annihilation is a just one, the band uses samples to create a storyboard effect that equates to the soundtrack to the assassination of all humankind which may seem ridiculous but this is art, deformed sonic art, where imagination can run riot without judgement. Typical of the samples is the screaming and whispering that starts “Goddess Of Truth” as the music fades in smoothly with some keyboard backing as Lord Worm screeches his bloodthirsty diatribe at the listener. The tune is slow to start with, building ominously with melodious dread which intensifies, but then fades into some eerie, chilling keyboards and breathing sounds, only for it to be battered aside with a massive insurgence of double bass and a great riff. The speed rockets but doesn’t hit supersonic speed, yet, preferring to keep it shackled with some very melodic guitar work. I did say yet, didn’t I, as the music saunters by merrily with this melody it is hacked to pieces by a closing frenzied blast that appears from nowhere.

It would be easy to say that this band is like Anaal Nathrakh, Immortal or Emperor but Rage Nucléaire has magnified everything to the utmost heights of unfettered acrimonious loathing and unremitting atrocity. Tunes such as “Ritual Murder (And Its Attendant Blessings)” and “Revel In Bones” are well crafted pieces of music that tear along like a maniac but take deep lungfuls of fetid breath to intersperse each tune with mercilessly aggressive but melodic inserts. Closing the album is the title track, a lengthy attack that has a seismic like intro before unfurling a cracking riff and mid tempo pace with backing double bass. The tune is much slower than most of the others, adding a little experimentation to the album, with spoken samples as the tempo is notched up as expected before shifting to top gear and a blurring blast.

Quite possibly the soundtrack to the annihilation of humanity Rage Nucléaire has released an album that is monstrously dangerous, the intent is clear, so take refuge.

(8.5/10 Martin Harris)