Exit Cryptopsy, enter Rage Nuceaire. For Lord Worm, grotesque vocalist/lyricist of the aforementioned god of technical death metal, the musical departure into black metal isn't an uncomfortable shift. In fact, the nasal, dissonant production of "Unrelenting F**king Hatred" accompanies his malevolent gurgles of blasphemous poetry quite diligently. Worm's vocals are somewhat of an untainted sanctuary compared to the rest of the album: come on, who doesn't think this guy rules? A large piece of Rage Nucléaire's first album simply isn't up to par. "Unrelenting F**king Hatred" (they were going for elegance, obviously) doesn't play games as far as the element of aggression is concerned, but a lot of the songs are too elongated and anticlimactic, even though the record is overall usually listenable.
If I recall, there's an interview somewhere (I'm certain before the Rage Nucléaire days) wherein Lord Worm cites his love for "hate-filled black metal." Think you can piece together where this is heading? Rage Nucléaire adores the essence of hatred, like an Anaal Nathrakh that clawed its way through countless miles of filth and now hunts for blood and suffering: the whole record is an annihilation frenzy of ravenous guitar work, constant violence, sinister vocals, boiling blast beats, and downright diabolical atmospheres. The ten-song affair kicks and bites for fifty minutes, never losing the edge of its fangs. Every member of Rage Nucléaire is at all times firing like a machine gun operated by a maniac; hammering blast beats and bloody riffs and melodies are the spinal columns and lungs of this beast, respectively.
It's quite simple to spew rhetoric about this sort of thing, because it really is insanity; not much else can be said about it, however. "Violence is Golden" and "Hunt With Murderworms, Sculpt With Flies" are both fantastic, pulverizing statements of bone-shattering black metal that represent the album's finer moments. By the time Rage Nucléaire hits "Endziel," "Unrelenting F**king Hatred" is pretty much running on fumes. They spend the remaining duration galloping in circles with riffs that mimic the song next to it and constant blast beats; sometimes changing up the pace, but usually blast beats. The last few tracks throw up the same stuff and lick it up like it's still tasty and relevant, but it's horribly stale at this point, and I couldn't tell you about "The Gallows and the Black Coffin" or the title track for a Lord Worm Fun Bag.
I can think of a dozen records offhand that are monotonous yet enjoyable for a variety of reasons too exhaustive to list, but often times records like "Unrelenting F**king Hatred" quickly lose their charm. It also doesn't help that there's a thirty-minute gap after the initial infatuation dispels of mediocre, recycled material just sitting around and taking up space, like an extra roommate that doesn't quite get the hint. Rage Nucléaire's overall functioning seems to fit Lord Worm's mentality of stuffing gallons of hate into black metal, and if you're into hatred that is truly unrelenting, give Rage Nucléaire a shot. However, I feel this take on black metal is only unrelenting in its ability to hit the snooze button on relevancy.