Genre: Black Metal
Label: Debemur Morti Records
I would have loved Archgoat to manage to release a full-length album in their earlier years around the mid-nineties, because I’m guessing in that parallel universe, we would have a glorified piece in very high regard (maybe to the levels of “Drawing Down the Moon”) when talking about their discography, especially if one considers their awesome first EPs. When the band made a comeback, they were just fine, and some of their releases are avoidable, yet since 2009 they have been in form, something that is expressed in their latest record “The Luciferian Crown” as well.
By now, they have created their own stamp when it comes to war metal, which is supported not only by look-alike, barbaric artworks (combination of black and white art and a red logo always kicks ass and it always brings Archgoat in mind no matter what the band is), but also with their fierce music. Made from simple but essential and brutal riffing, the pummeling drums are blasting their way through the tracks, mixing fast and middle paced parts nicely, while the deep growls are at the same, awesome tone.
The band executes their aggressiveness in an excellent manner and they have produced top-notch war metal tracks in this record, with many existing examples scattered around it. By listening to “Star of Darkness and Abyss”, you get the fast paced, punching introduction, light synths in the background and an amazing change into a slower, bell-boosted part with demonic vocals that showcases the band at its highest peak.Even in purely lower speed tracks like “The Obsidian Flame (From My Depths)”, one will not get bored. More raging moments can be found in “Jesus Christ Father of Lies”, “Jezebels Black Mass Orgy” (I would prefer less cheesy titles, but this is Archgoat and they are specialists in this field), both highlights in “The Luciferian Crown”.
At a couple of tracks, I recognized some melodies that move more into almost punkish territories, at some point in “The Luciferian Crown (Venom of God)” but just in terms of one riff, and in “Darkness Has Returned”.I consider the latter the weakest track in an otherwise engaging album, one that I have listened to more than their previous two, without that meaning it is worse or better. To explain myself, I prefer the Archgoat in “Sorcery and Doom”, the following track, a lot more than the Archgoat of what was going on in “Darkness Has Returned” .The Finnish masters have not disappointed, fans will celebrate and outsiders might be pushed even further away. I note this as a success.