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 Felix on January 9, 2020.

For the very sensitive ears of my German compatriots, it might sound like a nationalistic slogan, but sometimes it’s just true and – fortunately! – free from any form of politics: tradition beats any trend. Yes, well written pieces that know their ancestors, their roots and their bloodline will always win against trendy, experimental and further sounds that understand innovation as an end in itself. So, raise the curtain for Diabolic Night, a German duo that brings back the spirit of the past, not only in view of their old-school-as-f**k artwork. Their first full-length appears as the melting pot of Teutonic metal culture. Here you find elements of

- Iron Angel somewhere between “Hellish Crossfire” and “Winds of War”
- Running Wild before Rolf began to play the Caribbean clown
- Nuances of Blind Guardian before they fell victim to their own operas
- the melodic harshness of early Paradox and, finally,
- the spirit of newer (retro) acts, for example Quintessenz.

The aforementioned bands have one thing in common and that’s no coincidence. They did (or do) not play pure thrash, pure this or pure that. For instance, remember the black atmosphere of “Gates to Purgatory” that met rather time-honored structures. Heavy Steeler, the head of Diabolic Night, is also a great cocktail mixer behind the counter of a decrepit den of thieves where old school metal rules the whole night long. His music is sometimes dark (“Crescent Moon Rise”), sometimes driven by harmonic leads (the title track) and sometimes the he and his companion take the shortest, straightest and fastest way (“Infernal Power”, “Sovereign of Doom”). Their songs have compact designs and – it does not come as a big surprise in view of their traditionalist approach – more or less conventional patterns. Perhaps we have to respect people who say that this kind of music does not guarantee the highest level of excitement, but don’t jump to conclusions. The ending of “Odyssey”, for example, is far away from being predictable. Maybe the hoarse vocals, which are supported by massive reverb, are pretty average, but all in all, Diabolic Night’s songs do not lack individuality.

Generally speaking, the smooth flow of the songs does not hurt their heaviness. Perhaps every now and then the solos are too opulent, but everything else is well balanced and the only thing that the band does not offer is boredom. The material scores with its lively vibes, the usual atmospheric gimmicks like funeral bells are well integrated and if the band is able to improve its (already well-developed) song-writing skills, they will be a real force to be reckoned with, at least in the German scene. They are not there yet, because their less speedy tracks do not fully achieve the class of their almost pure speed metal eruptions. But maybe that’s just a question of time. By contrast, the production is already on a top level. Beyond the Realm presents a warm, old-fashioned mix without repeating the recording mistakes of some old heroes. So, I hope you will enjoy the compositions of this album – and maybe it will happen that you think of Death’s “Evil Dead”, because the intro of “In Retribution” lies in close proximity to the beginning of the classic of Chuck (R.I.P.). Well, a few non-Teutonic details are allowed, if I am not mistaken. But don’t dare to violate the laws of tradition, even if you call yourself Chairthrower!

Rating: 7.7 out of 10