While the northern Black Metal scene dominated Europe in the '90s, a few exceptions emerged from unexpected countries and still managed to carve their names among the continent's elite. One such band was Belgium's Enthroned. Ever committed to the satanic arts since their inception, their 1995 debut Prophecies of Pagan Fire proved without a doubt that they were a true Black Metal band. Even on this very first record, their exceptional effort hinted at the future success that awaited them. Comprising 10 tracks and running close to 55 minutes, the album featured Cernunnos on drums, Sabathan on bass and vocals, and Tsebaoth on guitars, with additional acoustic guitar contributions from P. Rosa.
Buzzing, aggressive guitar riffs, solid and classic drumming, atmospheric yet non-overbearing keyboards, well-placed acoustic segments, synth-laced ghostly interludes, and Sabathan’s sharp, appropriate vocal tone all form a solid backbone for the album. The vocal effects used throughout also help build a compelling atmosphere. The eerie voices behind the demonic screams lay out the satanic concept clearly. However, there are moments where the vocals don't entirely sync with the music.
For its time, the album stands out due to its wide range of riff structures and constant tempo shifts, which give the music a more ferocious and unpredictable character than many of their contemporaries. There are hints of Thrash scattered throughout, and the unique guitar tone drags you into a hellish, burning abyss. The keyboards, while subtle, add an extra dimension without overpowering the music. Drummer Cernunnos, who tragically took his own life in 1997, demonstrates just how talented and vital he was to the band on this album.
Musically, Enthroned draws influence from early Marduk, Satyricon, and even a bit of Ulver. The album opens with the nearly three-minute intro "Prophecies of Pagan Fire," consisting of cold wind howls and atmospheric acoustic guitar—a chilling way to begin. “Deny the Holy Book of Lies” bursts in with fast guitars and blasting drums before suddenly slowing down, showcasing one of many tempo shifts. The second half features subtle, atmospheric keyboard lines and a short but tasteful solo leading to the track’s conclusion.
“Under the Holocaust” is arguably the album’s most beloved song. Personally, I would also highlight “Rites of the Northern Fullmoon” and “Skjeldenland” as the record’s brightest moments. “Under the Holocaust” charges forward with aggressive speed and relentless drums—this is the band’s most Marduk-like moment, though keyboards are used more liberally here. Still, they remain distant and ghostly, never overtaking the mix. The song breaks into a haunting acoustic section backed by Sabathan’s demonic, tortured vocals and eerie synth screams before returning to its relentless pace, closing with a deadly tempo change.
“Scared by Darkwinds” opens with abrasive guitars and eerie keys, presenting a more primitive edge. Cernunnos leaves his brutal mark with merciless drum attacks. “Tales from a Blackened Horde” carries the strongest Satyricon influence and even features some death-metal-style riffing. The mid-section’s rhythmic interplay between keyboards and drums is particularly effective.
“At the Dawn of a Funeral Winter” is driven by a catchy, infectious riff and harsh vocals dripping with rage. However, the church-organ-style synths in the outro might be a bit excessive. The majestic “Rites of the Northern Fullmoon” features Thrash-oriented guitar work and pummeling drums that symbolize wickedness and cruelty in every measure. “Skjeldenland” starts off terrifying, with distant screams, war sounds, and galloping hooves that take you deep into Viking battlefields. The thunderous drums and primitive guitar riffs, combined with dynamic tempo shifts, perfectly encapsulate Enthroned’s essence. That said, the epic keyboard and female vocals may pull the song too far toward Viking Metal, which could be seen as a flaw.
“At the Sound of the Millennium Black Bells” launches at full speed with a fury reminiscent of Satyricon’s Nemesis Divina. The guitar tone and drumming mimic that icy, violent touch, and midway through, bells and ambient effects create a strikingly bizarre atmosphere. The album closes with the eight-minute “As the Wolves Howl Again.” It begins with a short acoustic segment before transitioning into more over-the-top church-style synths—well-blended, yes, but somewhat unnecessary. Thankfully, it soon gives way to Enthroned’s cold and savage core—icy guitars and pounding drums that scrape at the skull. The middle includes a chilling ambient moment with acoustic guitar, followed by a unique riff tone that stands out from the rest of the album. Briefly, female vocals appear toward the end—an unusual but not unwelcome addition.
Enthroned masterfully inject various instruments into their merciless, primitive music without going overboard. They know how to weave keyboards behind the guitars without compromising Black Metal’s raw essence. Even though they explore new elements, they never betray the genre’s foundational spirit. The strongest point of this album is without a doubt Cernunnos’s thunderous, confident, and unrelenting drumming. His tragic suicide was a tremendous loss for the band. Lyrically, being their debut, they’re not yet fully mature, but aside from a few flaws, Prophecies of Pagan Fire is a true class act in Black Metal.