This one sat in the pile for a while, ignored probably because yours truly cringes whenever he sees a bunch of neo-metallers dressed to the nines in baggy, hip-hop clothing. Needless to say, when Corpus Delicti was popped in, expectations were about as low as Bret Michaels’ blood sugar. After one listen, that sentiment was completely reversed – this is one immensely memorable CD of gasp! – Canadian metalcore.

As indicated by their name, L’Espirit du Clan is French-Canadian ensemble. Lyrics are sung in French and singer Arsene does little to cover it up, which is fine – it’s not really that much of a hindrance. Musically, these cats are a mish-mash of modern metalcore and some oddball choices going as far as The Defaced and mid-90’s Pantera. Beatdowns are kept a minimum and there is little in terms of clean vocals.

Where L’Espirit du Clan succeeds where so many fail is in their melodies, which are both streamlined and unique. The band stays away from the sugary-sweet major-chord melodies that so many metalcore acts fail prey to, instead opting for a more ominous, haunting vibe which is oh-so satisfying on the excellent “Ailleurs” and album standout “Sextour” which employs a cool little speed picking run in the chorus that is merged with a smooth groove.

The guitar tandem of Chamka and Ben come up big on more than one occasion, most notably during album closer “1992” where a gorgeous solo is pulled off over a droning riff that is repeated ad infinitum. The duo are clearly in synch, even adding some weight to the otherwise heinous hip-hop tune “Un Message Du Pain” where a French-Canadian rapper is ushered in for whatever reason. It ends up being the only throwaway track on the album.

There is little legroom to experiment in metalcore and because of that, bands who go into clueless (read: 98% of ‘em) will come out clueless, unaware that their music is a carbon-copy of 80 million other bands. L’Espirit Du Clan falls into that 2%, able to add some dynamics and muscle to what has become the biggest cancer on the metal scene since glam. Very much recommended and dare I say essential, ‘cause it really might be.

http://www.facebook.com/lespritduclan

(This content originally appeared on Blistering.com)

Seven years since their last album (2000’s Servants of Darkness), Sweden’s Nifelheim return with Envoy of Lucifer. One would think such a delay in releases would spark some unbridled creativity, but Envoy of Lucifer is one of those staid, predictable death/black metal albums that just blow by without leaving much of an impression.

The bands turbo-charged blend of blackened death metal or deathened black metal (ugh) runs the gamut from fast to scathingly fast, all the while bogged down by a very thin and trebly production job. If this were 1998, Envoy of Lucifer would most likely be considered modern, but in the sleek and precise world of extreme metal circa 2008, Envoy of Lucifer doesn’t stack up too well against its competition.

As for the tunes, there are some noteworthy cuts, namely “Evocation of the End,” an all-out war-mongering tune that features some cool chord structures. Melodies abound in “Gates of Damnation” and some surprising straightforward ‘rock’ drumming in “Storm of the Reaper,” but that about covers it – Envoy of Lucifer never catches on.

There was a time when these guys were considered something of a black metal upstart, but black metal has changed quite a bit since 2000 and frankly, Nifelheim’s decidedly stubborn BM approach does them more harm then good. I dunno, this one just belongs in the pile with the rest of ‘em, with not a tune registering…

http://www.regainrecords.com/

(This content originally appeared on Blistering.com)

Long before Gorgoroth became the resident Drama Queens of black metal, they were regarded as one of the more promising bands on the Norwegian front. The albums in question – Under the Sign of Hell, Antichrist, and Pentagram were bookends in the Norwegian black metal scene, drawing praise from both critics and fellow BM mongers like Hellhammer of Mayhem and Emperor. Now given the reissue treatment by Regain Records, this trio will now get its just due in spite of all the legal wrangling and Internet mud-slinging going on at the moment.

Antichrist saw the inclusion Satyricon drummer Frost lending his considerable skills. At a short and curt 25 minutes, Antichrist still has plenty of punch, especially in the form of “En Stram Lukt Nv Kristent Blod” and the eponymous-titled “Gorgoroth” being the more memorable tunes on the album.

The best album out of the bunch is easily Pentagram. Still grim and necro, Pentagram (the only all-Norwegian-sung Gorgoroth album) is the precursor to Gorgoroth’s present-day brand of scathing black metal mixed with triumphant melodies. Stocked with churning riffs and a very-1994 production job from Grieghallen Studios (where every Norwegian band recorded), Pentagram is mini black metal milestone.

Under the Sign of Hell possesses what could be the worst snare sound in the history of BM. Snappy, and clappy (trust me – words are hard to come by here), the drums (courtesy of future Borknagar drummer Grim) are pretty bad for BM standards, but the songs are here. Gorgoroth leader/guitarist Infernus demonstrated some development as a songwriter in the form of tunes like the creepy “Funeral Procession” and blast-happy “Blood Stains the Circle.”

Norwegian black metal reissues aren’t as commonplace as many would like, with the back catalogs of Burzum, Emperor, and Mayhem still readily available, but not remixed and remastered like this collection of Gorgoroth albums.

Not the most popular or even best of BM bands, Gorgoroth has taken quite the strange journey to get where they are today – mired in a public squabble over rights to the name, but hey, here’s the first three Gorgoroth albums. Take ‘em or leave ‘em, Norwegian BM wouldn’t be the same crazy place without Infernus and his now ex-bandmates.

www.gorgoroth.info

(This content originally appeared on Blistering.com)

Obviously this is some sort of stop-gap release, the usually prolific Doro putting together her most popular solo and Warlock tunes for a five-song, five video EP. The only song that really broke Doro (and Warlock) is “All We Are” and it’s right up front, cheesy video and all, but man, Doro was a hottie (and still is, yes) back then, so maybe that’s all that is needed for this EP to work.

Additional tunage includes the pretty atypical 80’s metal radio rocker “Thunderspell” and the Zeppelin classic “Babe, I’m Gonna Leave You” which was done ad naseum by Great White in the late 80’s. Regardless, ‘ole Doro puts a soft, tender touch to this standard arena rock ballad.

The accompanying videos are cool to watch, with Doro and here mile-long blonde locks flowing in the wind, taking on the streets in “All We Are,” while her romantic side gets a nod for “On My Own.”

Again, this is for tried-and-true Doro fans only, which at this stage (especially in the States), might be a far less significant number than her glory Warlock days. Fun stuff, hardly essential, but fun.

www.locomotiverecords.com

(This article originally appeared on Blistering.com)

Pretty ugly and unrelenting, these Endstille fellows. Their political values have always been in question since a handful of their lyrics deal with weaponry from World War II and since they are German, the debate will rage on. And so will their music. Endstilles Reich is a primal, blast-happy BM affair that contains minimal dynamics, but has enough pop and force to amount to something of worth.

Opener “Among Our Glorious Existence” starts with vocalist Iblis’ hellish rasp and volleys from death-defying blasts to a stream-rolling tempo. The title track, “Endstilles Reich” is far and away the best song here, with some oddly harmonized, almost melodic guitar work steering this thing down a very Gorgoroth-esque path. The same bodes for “I Am God,” yet another BM rager (it’s all blasts, folks) and “No Heaven Over Germany.”

Give Endstille some credit for putting some raw flavor into blast attack BM. Dozens have tried this style, the most notable being Marduk circa Panzer Division Marduk and Dark Funeral throughout its near-legendary career.

In the end, Endstilles Reich will forever be limited by its single-minded approach, no matter how feral and scathing the blast attack BM may be, but there is a platform for this stuff, so don’t expect to see Endstille burn out like an Iraqi Scud missile.

www.endstille.com

(This article originally appeared on Blistering.com)

Now signed to Prosthetic Records where no doubt bigger things will be in store, Montreal’s Neuraxis are doing the ‘ole contractual obligation release with Live Progression. Recorded in front of an adoring crowd in Montreal (between-song raps are in French), Live Progression is an uncharacteristically good sounding live death metal album, demonstrating how versatile and explosive Neuraxis really is.

Culling largely from 2005’s Trilateral Progression album, Live Progression runs the Neuraxis gamut from frenzied, jazzy death metal (“A Curative Struggle”), melodic death metal (“The Apex,” “Thought Adjuster” and “Shatter the Wisdom”), to pummeling, straightforward death metal (“The Art of Sadness” and “Reasons Being”).

One of the more professional and clear sounding death metal albums in the last decade, Live Progression is the perfect introduction to those unfamiliar with one of Canada’s metal institutions. As noted before – big things should be on the horizon for Neuraxis, who are more versatile than most death metal bands and given just how melodically competent and memorable their songs are, the jump to Prosthetic is certainly warranted.

www.neuraxis.org

(This article originally appeared on Blistering.com)