Rage Nucléaire - Black Storm Of Violence |
Published July 17 2014
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Annihilation Frenzy* |
| Genre | Black Metal |
Lord Worm
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Vocals
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| Tracks | 8 |
Dark Rage
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Guitar
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| Running time | 47 Min. |
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Guitar
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| Label | Season Of Mist |
Alvater
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Bass
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| Release | 18 July 2014 |
Fredrik Widigs
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Drums
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| Country | Canada |
Alvater
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Keyboard
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| Producer | --- | ||
| Similar artists | Anaal Nathrakh, 1349 | ||
Black metal has the ability to induce a wide range of emotions through primitive and simple music, more so than most other genres. Melancholy, hatred, anger, rage, sadness, darkness etc are now all well known in the repertoire of black metal as the genre progressed. On their sophomore disc 'Black Storm of Violence' Canadian outfit Rage Nucléaire undeniably went for an all-out anger expression, the kind that Anaal Nathrakh took to further extremes in the mid 2000's.
Through the eight tracks that is 'Black Storm of Violence' the listener is served an uptempo clattering black metal, with only 'Goddess of Filth' and the title track showing notable midtempo sections. Fredrik Widigs grinds away through most of the album with the skill that gave him the drum stool in Marduk. Along with some well-placed fills to keep the drum work interesting he pushes the album forth along with the bass lines of Alvater.
If the rhythm section warrants intensity, the riffs of Dark Rage has a more melodic touch and an unusually sparse use of distortion for the genre. Most songs rely on a main riff with some lines and arrangements on top, most notably the samplings opening and closing many tracks and some atmospheric keyboard lines. Said samplings are quite crude and juvenile but have their charm. Basing entire songs around a main riff can be risky but their skilful composing puts 'Black Storm of Violence' in the clear.
The entire album has a strong Anaal Nathrakh vibe to it and Norway's 1349 and Gorgoroth pops up in the more atmospheric pieces. The beginning of 'The Deadfall Tryptich' also has a strong industrial vibe to it not that far from those the aforementioned Brummies' frequently flirt with. Another nod to Anaal Nathrakh is found in the vocals of former Cryptopsy throat wrecker Lord Worm.
In Rage Nucléaire he employs low-key screams with an almost unbelievable reverb bringing V.I.T.R.I.O.L. to mind, but with a more restrained aggression than the Anaal Nathrakh vocal phantom. I would like to put the vocals in the front of the mix but truth be told no instrument is really found in the front of the mix. Everything appears in the mid region, nothing is further front or back in the mix than anything else. That brings some clarity to the sound of a production being not crystal clear but not particularly necro either. The everything-in-the-middle-grip is interesting but reveals the flaw of 'Black Storm of Violence', the lack of anger, aggression and hatred in the music.
This album once and for all exposes the vulnerability of Anaal Nathrakh-styled black metal, without the up-front aggression the music becomes toothless and uninspiring. The Brummies' balanced on the edge of the pitfall on 'Passion' and the Canadian's now walk right into it. Lord Worm's vocals are the only instrument delivering the filth and aggression but given the modest place in the mix they do not save the day.
In the absence of filth, aggression and prophecies of the apocalypse being nigh some slight feelings of darkness and melancholy can be found with intense listening. 'Le Grand Mal De Vivre' and 'Revel in Bones' even has a Sargeist-kind of triumphant expression. Neither of these gives an edge to the album though in the absence of rage as the opposition. They rather make the wish for ball-crushing battered-beyond-recognition aggression even stronger. To put it simple, if Anaal Nathrakh is a rabies infected pitbull ready to tear your throat apart at any given opportunity, 'Black Storm of Violence' is a yelping pug.
Despite the nice drumming and riff work, the lack of,
well rage, on Rage Nucléaires sophomore disc makes it a rather
toothless and uninspiring story. There are some highlights on the first
half of the album, particularly 'Annihilation Frenzy' and 'Goddess of
Filth', but towards the end my interest has disappeared completely.
The potential is there and with up-front aggression this would slay
and cause me to make an urgent dentist appointment. As for now though,
I am eagerly awaiting the coming Anaal Nathrakh onslaught instead.
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Performance
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Originality
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Production
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Vocals
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Songwriting
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7 |
5 |
6 |
8 |
5 |
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Summary
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5 chalices of 10 - Tengan |
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