For those who enjoy bestial black metal (or war metal, as some people call it), Finland’s Archgoat has proven to be one of the ruling bands of that niche. Last year, they presented us with their fourth full-length The Luciferian Crown.
This album, as pretty much any album released by Archgoat, counts with the amazing and blasphemous artwork of Chris Moyen. As for the musical aspect, the album starts with the expected ritualistic intro and then the violence begins. Giving little to no quarters to those who are listening with the occasional yet crushing heavier doomier sections. The first noticeable detail is that Archgoat is still going in the same direction towards a clearer production where everything is more easily understood. Even Lord Angelslayer’s vocals are clearer. There’s still some of the traditional and dense distortion, yet now is just a bit more refined. The album also showcases two great changes: the studio introduction of the new drummer Goat Agressor – bringing now the occasional use of double bass as present in “Messiah Of Pigs”. Also, the use of more samples and synthesized choirs brings something new to the table.
This album proves to be quite a change to the band’s usual sound as it features some level of experimentation and the band is clearly trying to improve and expand itself. For instance, “Darkness Has Returned” counts with a more Rock-ish approach than any other song ever made by Archgoat. Despite all of these changes, the band still manages to stay loyal to its typical sound and keep their almost hypnotic qualities (although less noticeable in this release). The definitive highlights of this record are “Darkness Has Returned”, “Star Of Darkness And Abyss” and “Messiah Of Pigs”.
In conclusion, The Luciferian Crown is an amazing work and one of the band’s more interesting releases, placing Archgoat on top of its game.
Review by Filipe Aragão
Managing Editor: Filipe Gomes