Watching bands evolve is always interesting. Some evolve gracefully; others don’t. Entheos is one that ages like, what do they say, a fine wine. A fine, progressive metal, industrial, deathcore, melodic wine. The upcoming album is titled Empty On The Inside, and it will be released on October 23rd, 2026. It is heavy and aggressive at times; at other times, it is mood-driven. There are fast and slow sections, breakdowns, and some of the best musicianship and compositions. I am consistently impressed with this band. Let’s dig into Empty On The Inside.
The album opens with “Hell is a Part of Me.” It begins with a catchy riff and an almost haunting soundscape by Michael Stancel and Scott Carstairs. Then it jumps immediately into impressive drums from virtuoso Navene Koperweis. Vocalist Chaney Crabb hurdles in with a strong, harsh growl that hits you right in your soul. It grabs your attention instantly, and the chorus brings Crabb’s first clean vocals on this album. Crabb has been doing more and more clean vocals as Entheos grows, and this album has plenty. This shows how insanely diverse she’s become.
“Empty on the Inside” has a 90s industrial feel, from the music to the vocals. Even the drumbeat has an industrial sound. Moving from almost echoing vocals to harsh, then back to clean, gives this one a creative balance that Entheos pulls off so well. Drums and synth carry it until about 45 seconds in, when the guitars join the mix. Then, at about 1:08, a brief but extremely effective guitar chug hits. The melodies keep filling the space as the music builds and deepens the emotional atmosphere.
Speaking of emotional atmosphere, let’s talk about “Hollow”. I get a 90s vibe from this one, too. The guitar starts with an almost fuzzy sound. Crabbs’ vocals are so different, with her approach to the throatier parts of the song; it almost reminds me of 90s Marilyn Manson, although I am not entirely sure why. She is much more talented vocally, in my opinion, and she reminds us of this as she transitions from that throaty sound to cleans to her iconic fries, and she does this flawlessly. I swear I hear about 5 different vocal styles in this song alone. It also showcases just how remarkable Koperweis is as a drummer. He can play frantic, perfect drumbeats and fills, but here he steps back and plays exactly what it needs. Same with Stancel and Carstairs; they stay in the song’s mood, and that is what makes it all so brilliant.
Next might be my favorite, “Call My Name”. This song is more of the deathcore sound you are used to with Entheos, BUT there is so much more here. The drumming is almost alien at times; has Navene grown more arms and legs? There is a part where the drumming almost sounds tribal; it is so interesting. Some of the guitar parts at 2:45 really stand out with a creative riff that comes directly out of a chugging sound. Crabb’s growls are perfect, and her ever-changing vocal styles are forever profound; then she switches to an almost ethereal sound at about 1:55, showcasing a clean sound. It reaches a new, soulful sound with the high at that timestamp. The shift from this soundscape back to a heavy riff that smacks you in the gut and Crabb kicks you at the same time, which is a transition I thoroughly enjoy.
“Golden Crown” has already been released. I will post it here so you can check it out. I really enjoy the catchy guitar riffs in this one. With Crabbs’ wistful vocal style, it creates something very different from many of their other songs. This is one of the most exciting things about Entheos: they can do it all, and you know they’ll do it well.
“Undone” has also been released. It opens with a menacing, sinister synth sound. Then Crabb comes in with a soft vocal approach on top, creating a beautiful duality in the song. At 2:36, when it softens, it briefly shifts before returning to that heavy synth. The industrial sound, paired with her lower cleans, touches the spirit in an alluring way.
“Tomblight” is slower and lighter. Eerie guitar parts ring out as the drums stay in the pocket. At 36 seconds in, it turns grittier, while the mood stays the same. This song reminds me of a song from the 90s The Crow soundtrack, “Time Baby III” by Medicine. I am not sure why my brain went there, but both songs are breathtaking, so maybe that’s the reason. Obviously, Entheos brings the heat over Medicine. The nostalgia that so much of Empy on the Inside brings has been a pleasant surprise, given the direction Entheos took. I, for one, am here for it. Just when you think this song is going to be straight clean vocals, it shifts about 2:35 in, and Crabb turns to her harsh vocals before ending the track.
“Pale Faith” is definitely another favorite of mine. What a wild ride this one is. It almost has some quick, thrashy-sounding sections with melodic twists and turns. This is groovy, aggressive, and melodic, and it throws in a guitar solo, all while Chaney does what she does best: continually impressive vocal style switches. It is almost as if she has 20 people inside of her; I am more and more impressed with her abilities. Koperweis’s drumming on this one is also insanity. Power couple for sure, and when you add Stancel and Carstairs to the mix, it is no wonder this album is absolute fire.
“Never Let Me Go” takes a much smoother, calmer approach, where the guitar, synth, and Crabb carry the track all the way through as she uses her massive clean vocals to bring you to tears. This song feels heavy and carries strong emotion. I remember when Chaney first started playing with clean vocals, and her vulnerability as she reaches new heights on this album shows how vulnerability can become a phenomenal added talent. It is much-needed and soul-stirring.
The album ends with “The Earth Will Move,” which starts with background synth ambiance. It is a breathy vocal with some harmonizing behind Crabb’s voice. This one breaks your heart too when she whispers, “If there’s still beauty in this life, then it’s nowhere to be found.” The whispers are immediately followed by harsh screams that create an excellent depiction of life and how it can feel. Pay attention to what the guitars are doing in the background on this one; there are some amazing layers. Drums, as always, are destructive and monumental as Crabb screams her heart out. I honestly can’t think of a better way to end an album. Perfection.
As a massive fan of Entheos already, I have to say I am beyond inspired by what they have created here. Empty on the Inside hits all the marks for emotion, talent, creative compositions, impressive soundscapes, and everything you could want, wrapped into one album. I highly encourage you to check it out.
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