Hecate Enthroned – Embrace Of The Godless Aeon

Rating: 3.5/5
Distributor/label URL: https://www.m-theoryaudio.com
Released: 2019
Buy Album [URL]: https://hecateenthroned.bandcamp.com/album/embrace-of-the-godless-aeon
Band Website: https://www.facebook.com/HecateEnthroned/

Band Line-up:

NIGEL – Guitars
ANDY – Guitars
DYLAN – Bass
GARETH – Drums
PETE – Keys
JOE – Vocals


1. Ascension
2. Revelations in Autumn Flame
3. Temples That Breathe
4. Goddess of Dark Misfits
5. Whispers of the Mountain Ossuary
6. Enthrallment
7. The Shuddering Giant
8. Silent Conversations with Distant Stars
9. Erebus and Terror


Hecate Enthroned are one of the UK’s most legendary and oldest underground black/death metal bands. Their first album for five years ‘Embrace Of The Godless Aeon’ was released on January 25th and it was highly anticipated. It features guest vocals from Cradle of Filth’s Sarah Jezebel Deva and it was co-produced by Dan Abela (Voices, The Antichrist Imperium). The cover art was designed by Nestor Avalos, a man who has worked with Rotting Christ and The Black Dahlia Murder.

There is a lot of drama in this music to put it mildly. Everything is cleverly written, and the spicy and sometimes slightly alien harmony often resembles modern dramatic/sci-fi film music, even. However, chord changes tend to happen in safe places, and with the lack of syncopation, comes music that isn’t quite as edgy as may have been intended. Melodies from the strings have very strong tendencies to go up and down scales/arpeggios by steps/small movements, and lack more extreme leaps that conjure up greater interest and memorability.

Having said that, the vocal melodies from Sarah are a bit more adventurous but they still aren’t classics; rather they kind of provide diversity instead of things to genuinely look forward to. Don’t get the wrong idea however, the way orchestral instruments merge with the modern guitars and percussion, and the way every note is in great taste is very respectable. The polished, bass rich production (yes it’s not tinny, in contrast to many old school BM bands) only adds to the power.

In conclusion much of the material is very creative and much of it is slightly bland. What’s wrong with writing something truly singable? Furthermore, sometimes I wonder if blast beats will ever go out of fashion. Part of me hopes they do, (well I hope they get less popular, at least) as it doesn’t exactly require much skill to write them, does it? Sure they may be hard to play, but why people seem to think they’re the best thing since sliced bread is a bit strange, to me. Anyway, this is a darkly majestic and strong album.


Review by Simon Wiedemann