Review by Dominik on February 7, 2026.

I’m about to risk my neck here with a bit of careless talk and writing, but let’s chat about language. It can be beautiful—at least when people aren’t hell-bent on overcomplicating things. Take my attempt to “categorise” Lucifer’s Child: Are they the stereotype or the archetype of a black metal band? I wanted a simple explanation. What I found was an article, or correctly a long-winded academic essay, indulging in a senseless effort to scientifically find a proper differentiation. It dissected the difference with the enthusiasm of a philosophy student at a bar. But to cut a long story short, here is the short version: A stereotype is an oversimplified characterisation or notion, whereas an archetype creates an instant familiarity you can relate to without requiring you to overthink why. Now, how does this apply to Lucifer’s Child? Simple. The band’s members are the perfect stereotype of black metal musicians. They are grim-faced and playing in multiple projects like their mortgage depends on it. But “The Order” as an album? That’s a textbook archetype of a solid black metal record. You listen, you instantly connect, and you never feel the need to question why it works.

So now, as I got this important finding out of the way, let´s – as any review should - focus on the album. I am still not sure whether the music is a cohesively organised chaos or I’m listening to a black metal compilation (maybe I am suffering from a rare case of compilation syndrome?). This is what makes “The Order” an intriguing piece of work. On one hand, after multiple listens, I can’t shake the feeling that I am being served an expertly curated mixtape of black metal’s greatest tricks. On the other, despite the diversity, it never collapses into disarray. Somehow, it all clicks.

Why is that? Up to track number five, no two songs follow the same blueprint. Opener 'Viva Morte' is an all-out assault, a sonic mugging, immediately making it clear that the vocalist isn’t here to win hearts—just to claw them out of your chest. You understand that friendship was never an option. The guitars and vocals dominate the sonic delivery, and the sheer aggression makes it a great way to weed out weak-willed listeners. Then comes 'The Order', the title track, which is almost its evil twin, delivering a well-executed contrast. It begins in a traditional heavy metal mode, that for a brief moment, you might think you stumbled into an NWOTHM record, before plunging into ominous Middle Eastern melodies. The song surprises with some vocal variety, at times “choral” and “conjuring”, before moving back to the known black metal growls and shrieks. It keeps you enthralled and drags you along at a more moderate pace, a showcase that black metal doesn’t always need speed to be menacing. The band lets the atmosphere do the heavy lifting.

The variety continues. 'Fall Of The Rebel Angels' starts as if Italian Whiskey Ritual had a Greek cousin—pure black ’n’ roll—before shifting into full-on black thrash and then rolling back effortlessly. It’s moments like this that prove these guys are far from being beginners in their trade. 'Through Fire We Burn' (no, this is not a lost Emperor song) pulls another surprise. It opens with a melancholic lead before hypnotic riffing draws you into its slow, suffocating atmosphere, with a frontman who sounds like he’s already inhaled a lungful of the flames in question and burned parts of his vocal cords.

The first five songs of “The Order” are undeniably strong, each track bringing something distinct to the table while still serving the same blasphemous feast. If I were gunning for a glowing 85+ rating, I’d stop here. But honesty demands that I acknowledge “The Order”’s final act doesn’t quite match the brilliance of its first half. The closer we come to the finish line, I am obliged to report a slightly stumbling descent; the initial stamina begins to fade. 'Black Heart' is a track that truly feels patched together, never quite deciding what it wants to be. And then there’s the outro: a five-minute mix of ambience, guitar soloing, and desperate wailing. It’s not bad, per se, but after two minutes, I found myself checking my watch—always a bad sign in black metal. Someone should have escorted 'Siste Farvel' offstage much earlier. Unfortunately, these moments keep the album from achieving full ascension.

Despite its slightly disappointing finale, “The Order” is a well-produced archetype of compelling black metal. It is a truly enjoyable album that balances raw aggression with enough diversity to keep things interesting.

Rating: 8 out of 10, because if the devil is in the details, then he clearly took a short break during the final tracks.