Hex – God Has No Name Review

Band: Hex
Album: God Has No Name
Label: Transcending Obscurity Records
Genre: Doom/Death Metal
Country: Spain
Release Date: July 5th, 2019

Hex, a five-piece entity from Spain, first appearing on my radar with their 2017 demo, despite already having a full-length out in 2014; dealing in Doom/Death Metal and themes of an antitheist nature, their third release was announced by Transcending Obscurity Records, and of course, I took notice. Transcending Obscurity has been steadily releasing such quality Metal, that every release is worth at least checking out, and more often than not, throwing a few Euros at. Hex joins a wealth of incredible Doom/Death acts on their label’s roster; God Has No Name is a worthy entry, delivering seven songs of varying intensity just under the 40 minute mark.

Hex is made up of Jonathan Pernia Garcia on vocals, Adolfo Cantoya and Jon on guitars, Asier Amo on drums, and Endika on bass. God Has No Name is my first real in-depth experience with this band, and together they make a really interesting Doom/Death record. The guitarists and the bassist have no other listed acts on Metal Archives, but the singer and drummer do. Surprisingly, considering the hammering on display, Asier’s other act is a Pagan/Viking/Folk Metal group; less surprising is Jonathan Pernia Garcia’s other groups which are both Brutal Death Metal.

Jonathan’s vocals are very similar to Brutal Death Metal in harshness but delivered both in long, low, and gross utterances in a remarkable display of control, as well as matching the music’s speed with ease when kicked into high gear. There is a great amount of power that he imbues into each verbalization that is memorable; his competence cannot be questioned. While on the topic of vocals, it is worth noting the eerie spoken word sections, and the clean female vocals; both were unanticipated and added to the experience, rather than distract from it. Adolfo and Jon are frenzied guitarists when the moment calls, and restrained, slow-moving destroyers the rest of the time. Quick-fire light riffs are paired with thick weighty slabs, and the solos are fiery then pensive, but infrequent for the displayed talent. The riffing is unconventional, especially for this sub-genre, which does help Hex stand out in a very crowded field.

Endika’s bass playing is pleasantly present in the mix, much higher than most contemporaries in terms of the clarity; you can also hear what the bass is accomplishing, instead of just “feeling” it. There is a loose sound to Endika’s strings, which drops the low-end into an abyss that nothing would ever escape from. The low-end is essential to this sub-genre, but many bands mix the bass so low they could suck and you’d never know; with God Has No Name you hear everything so clearly it would be impossible not to notice the skill. Asier handles the pounding and the crashing with a proficiency beyond the requirements of the style. Flourishes are how Asier stands out, as the majority of the drumming is in lock-step with the riffing, but when given a momentary burst, he stands out; rips in between repeated sections don’t happen quite often enough but are significant when they occur.

The highlight moment of the album for me is the eerie spoken word section I mentioned earlier; it bridges the end of Worshipping Falsehood into the beginning of Daevangelism flawlessly, so much so that I didn’t know they were separate songs on the first several listens. Thy Kingdom Gone was an early favorite song for how heavy it was, but was eventually usurped by the Doom-laden Worshipping Falsehood; the latter is at a slower and steady pace, and the repetition was welcome head-banging fodder. My only complaint about the whole affair is that it is a little clean on the production end; while I completely appreciated hearing all of the individual details, the atmosphere sounded too sterile, and as a result, some of the punch is lessened. Overall God Has No Name is a solid statement and is the kind of record that will make you notice a band you’d never heard of, and fall right into their world.

Rating: 7.5/10


  1. Thy Kingdom Gone
  2. Soulsculpter
  3. Worshipping Falsehood
  4. Daevangelism – The Dark Sunset
  5. Where Gods Shall Not Reign
  6. Apocryphal
  7. All Those Lies That Dwells…

Total Playing Time: 37:27

Click here to visit Hex’s Bandcamp

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