Review by Tomek on July 5, 2013.

Spain is probably the last place that I would think of when comes to Old School Death Metal, and yet here we have Mass Burial that hails from Burgos, Spain, and have been planning their “Of Carrion And Pestilence” since 2002. It took a decade to get a release out but it could not possibly be any better. It reeks of cemeteries, tomb desecrators, zombies, murderous thoughts and perverted serial killers just like any Old School Death should.

Musically very simple maybe even primitive at times yet full of twists, turns and stuffed with solos, headbanging-friendly riffage and some eerie, evil sounding melodies. They conduct their attack with a sound similar to what Sunlight Studio was doing around 1990 and I couldn’t agree more with their choice. It gives the whole album the right vibe and sets the listener up on the right track. Mass Burial plow through 11 songs with pounding of a rhythm section enhanced with fat bass and chaotic drumming, sandy and rusty guitar sound and vocals that are so guttural and throaty that I needed to soothe my throat with some honey just from listening to Raul. It all sounds so freakishly old school that it seems that those boys found a way to go back in time to record this album. Could that be a reason why it took so long??

Eleven pieces of Old School Death Metal that will take you back to times of Entombed, Dismember or Autopsy first demo tapes. Don’t believe me? Just check out 4th song titled ‘Mass Burial’ and tell me that it doesn’t remind you of certain Swedish band that starts with E. Fortunately, those Spaniards have enough ideas to put their own stamp on things, and songs like ‘Post War Psychosis’,’ Intense Genital Punishment’,’ Deathlike Dream’ to name a few are intense, original ass kickers that burst with amazing riffs, leads and atmosphere.

“Of Carrion And Pestilence” spun in my player for a long time and gave me plenty of enjoyment. Good album for anybody with affection towards metal that everybody was banging their heads to in early 90’s, and I also think a good one to reminisce what was it all about. Tear.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 8
Production: 8
Originality: 8
Overall: 8

Rating: 8 out of 10

Review by Alex on September 24, 2018.

Archgoat had begun to climb the ladder since their 2006 full-length release Whore of Bethlehem with each full length album following it taking on a much cleaner production than its predecessors. What was also noticeable since the bands inception is their ability to maintain the same 3 piece lineup with the addition of a sampler keyboardist. On The Luciferian Crown the drummer is replaced only for the second time in the 17 years of Archgoat’s existence. With this change new ideas are breathed into the ceremony.

The music on this latest offering still has the Archgoat signature stench; however, the band has incorporated some elements not commonly heard on their previous efforts. The approach is a bit more versatile due to these elements being added, such as the synthesized choir and electronic background samples. The choir had been introduced on previous records such as The Apocalyptic Triumphator but only in small portions, on The Luciferian Crown its presence is more noticeable and dominant than ever. As mentioned earlier, Archgoat’s production began to undergo changes that has made their sound far cleaner than on their demos and Ep's, this change is still the case on this latest record in which has a very clean and professional sound comparable to their 2016 album. Lord Angelslayer’s voice still has that evil growl many have come to use as a key identifier of Archgoat’s sound. Ritual Butcherer is still menacing on his guitars in his dispatching of riffing devilry and the new drummer, Goat Aggressor, shows that he is capable of playing the traditional Archgoat way. The keyboard sections played by Diabolus Sylvarum adds a sinister coating to the already fast and heinous attack. The common mid-tempoed elements are still prevalent on The Luciferian Crown as on other blasphemies but is used more frequently on this venture. 

The Luciferian Crown has a special flow, something that I haven’t heard by Archgoat on other records. Fast double bass kicking has made its way into the realm in the form of "Messiah of Pigs" and a very diverse playing style almost rock and punk fused is ushered in by Archgoat on "Darkness Has Returned". It’s good to see the band trying new things in small portions, this gives the ritual a feeling of unpredictability as it spins below the needle. "Star of Darkness and Abyss" is definitely the highlight track for me, it’s versatile in its pacing and has all of the Archgoat goodies you love about the band with the addition of the earlier mentioned fast double kicks. Its positioned at the right spot on the track-listing and feels like a re-introduction or a new chapter in the band’s existence. With so much occurring on The Luciferian Crown, it’s hard to compare this record to previous entries by Archgoat which is a good thing, as it shows constant evolution of the song writing techniques used by the band. However, this is still Archgoat, their identity remains perfectly intact whilst being complimented by newer refining ingredients. The Goat has returned with spiked shiny hooves and even more crooked horns. 

Horned impalements/Jewels within the crown:

• “Messiah of Pigs”
• “Darkness Has Returned”
• “Sorcery and Doom”
• “Star of Darkness and Abyss”
• “The Luciferian Crown (Venom of God)”

Rating: 8.4 out of 10

Review by Alex on September 24, 2018.

Archgoat had begun to climb the ladder since their 2006 full-length release Whore of Bethlehem with each full length album following it taking on a much cleaner production than its predecessors. What was also noticeable since the bands inception is their ability to maintain the same 3 piece lineup with the addition of a sampler keyboardist. On The Luciferian Crown the drummer is replaced only for the second time in the 17 years of Archgoat’s existence. With this change new ideas are breathed into the ceremony.

The music on this latest offering still has the Archgoat signature stench; however, the band has incorporated some elements not commonly heard on their previous efforts. The approach is a bit more versatile due to these elements being added, such as the synthesized choir and electronic background samples. The choir had been introduced on previous records such as The Apocalyptic Triumphator but only in small portions, on The Luciferian Crown its presence is more noticeable and dominant than ever. As mentioned earlier, Archgoat’s production began to undergo changes that has made their sound far cleaner than on their demos and Ep's, this change is still the case on this latest record in which has a very clean and professional sound comparable to their 2016 album. Lord Angelslayer’s voice still has that evil growl many have come to use as a key identifier of Archgoat’s sound. Ritual Butcherer is still menacing on his guitars in his dispatching of riffing devilry and the new drummer, Goat Aggressor, shows that he is capable of playing the traditional Archgoat way. The keyboard sections played by Diabolus Sylvarum adds a sinister coating to the already fast and heinous attack. The common mid-tempoed elements are still prevalent on The Luciferian Crown as on other blasphemies but is used more frequently on this venture. 

The Luciferian Crown has a special flow, something that I haven’t heard by Archgoat on other records. Fast double bass kicking has made its way into the realm in the form of "Messiah of Pigs" and a very diverse playing style almost rock and punk fused is ushered in by Archgoat on "Darkness Has Returned". It’s good to see the band trying new things in small portions, this gives the ritual a feeling of unpredictability as it spins below the needle. "Star of Darkness and Abyss" is definitely the highlight track for me, it’s versatile in its pacing and has all of the Archgoat goodies you love about the band with the addition of the earlier mentioned fast double kicks. Its positioned at the right spot on the track-listing and feels like a re-introduction or a new chapter in the band’s existence. With so much occurring on The Luciferian Crown, it’s hard to compare this record to previous entries by Archgoat which is a good thing, as it shows constant evolution of the song writing techniques used by the band. However, this is still Archgoat, their identity remains perfectly intact whilst being complimented by newer refining ingredients. The Goat has returned with spiked shiny hooves and even more crooked horns. 

Horned impalements/Jewels within the crown:

• “Messiah of Pigs”
• “Darkness Has Returned”
• “Sorcery and Doom”
• “Star of Darkness and Abyss”
• “The Luciferian Crown (Venom of God)”

Rating: 8.4 out of 10

Review by Alex on September 24, 2018.

Archgoat had begun to climb the ladder since their 2006 full-length release Whore of Bethlehem with each full length album following it taking on a much cleaner production than its predecessors. What was also noticeable since the bands inception is their ability to maintain the same 3 piece lineup with the addition of a sampler keyboardist. On The Luciferian Crown the drummer is replaced only for the second time in the 17 years of Archgoat’s existence. With this change new ideas are breathed into the ceremony.

The music on this latest offering still has the Archgoat signature stench; however, the band has incorporated some elements not commonly heard on their previous efforts. The approach is a bit more versatile due to these elements being added, such as the synthesized choir and electronic background samples. The choir had been introduced on previous records such as The Apocalyptic Triumphator but only in small portions, on The Luciferian Crown its presence is more noticeable and dominant than ever. As mentioned earlier, Archgoat’s production began to undergo changes that has made their sound far cleaner than on their demos and Ep's, this change is still the case on this latest record in which has a very clean and professional sound comparable to their 2016 album. Lord Angelslayer’s voice still has that evil growl many have come to use as a key identifier of Archgoat’s sound. Ritual Butcherer is still menacing on his guitars in his dispatching of riffing devilry and the new drummer, Goat Aggressor, shows that he is capable of playing the traditional Archgoat way. The keyboard sections played by Diabolus Sylvarum adds a sinister coating to the already fast and heinous attack. The common mid-tempoed elements are still prevalent on The Luciferian Crown as on other blasphemies but is used more frequently on this venture. 

The Luciferian Crown has a special flow, something that I haven’t heard by Archgoat on other records. Fast double bass kicking has made its way into the realm in the form of "Messiah of Pigs" and a very diverse playing style almost rock and punk fused is ushered in by Archgoat on "Darkness Has Returned". It’s good to see the band trying new things in small portions, this gives the ritual a feeling of unpredictability as it spins below the needle. "Star of Darkness and Abyss" is definitely the highlight track for me, it’s versatile in its pacing and has all of the Archgoat goodies you love about the band with the addition of the earlier mentioned fast double kicks. Its positioned at the right spot on the track-listing and feels like a re-introduction or a new chapter in the band’s existence. With so much occurring on The Luciferian Crown, it’s hard to compare this record to previous entries by Archgoat which is a good thing, as it shows constant evolution of the song writing techniques used by the band. However, this is still Archgoat, their identity remains perfectly intact whilst being complimented by newer refining ingredients. The Goat has returned with spiked shiny hooves and even more crooked horns. 

Horned impalements/Jewels within the crown:

• “Messiah of Pigs”
• “Darkness Has Returned”
• “Sorcery and Doom”
• “Star of Darkness and Abyss”
• “The Luciferian Crown (Venom of God)”

Rating: 8.4 out of 10