ENTHEOS 'Empty On The Inside'

ENTHEOS
Empty On The Inside
Metal Blade Records

Hello, Queen.

Yes, Chaney Crabb, I'm talking to you. Before we get into ENTHEOS and their newest offering, 'Empty on the Inside', I need to date myself a little. I'm 50 years old; I've spent the better part of my life buried somewhere in the extreme metal universe, and somewhere along the way, I apparently became the resident Deathcore Daddy in my circle of friends. Death metal, technical death metal, deathcore, whatever nasty little corner of the metal world you want to throw me into, chances are I've spent plenty of time there. My knees might not appreciate the pit like they did 25 years ago, but my love for this music hasn't slowed down one fucking bit! And when it comes to ENTHEOS, that love runs deep.

But before we talk about my queen of modern extreme metal, we need to go back a few decades. Long before Chaney Crabb was tearing stages apart, there was a band called CRISIS, fronted by a woman who genuinely changed how I looked at extreme metal vocalists. That woman was Karyn Crisis. If you've never listened to CRISIS or their 1996 album 'Deathshead Extermination,' do yourself a favor and go experience it. It's an absolute masterpiece of aggressive, unconventional extreme metal, and Karyn remains one of my favorite vocalists to ever stand behind a microphone. Her delivery was raw, disturbing, unpredictable, and unlike anything else I was listening to at the time. She helped establish the standard by which I would judge extreme metal frontwomen for decades.

Now, I can already hear the studded paddles rattling and see the lace-covered pitchforks coming my way. 
What about Courtney LaPlante from SPIRITBOX? What about Tatiana Shmayluk from JINJER? What about POPPY? 

Listen, I love what these women bring to heavy music. They're all talented, they've earned their recognition, and I'm not taking a damn thing away from any of them. Hell, my wife absolutely loves JINJER, and Tatiana is unquestionably her queen. Love you, wife, but we're going to have to “agree to disagree” on this one. Because when it comes to my personal throne of extreme metal vocalists, Chaney Crabb is sitting comfortably at the top!

I've been fortunate enough to photograph ENTHEOS twice, including their recent tour with JINJER, and I've had the opportunity to meet the band briefly. My friends know how much I love them! Yet somehow, I still receive TikTok videos and Instagram reels of Chaney unleashing some ungodly vocal performance, followed by, "Dude, have you heard this woman? You'd love this band!" (referring to you Dan!)My brothers and sisters in metal, I've photographed her twice! You're preaching to the fucking choir! And Chaney, since I've apparently got your attention, the next time you're in Las Vegas, let your resident Deathcore Daddy spend an evening photographing you and the band. Backstage, side stage, wherever! I'm offering my services! There, I shot my shot.

Now, my affection for ENTHEOS doesn't mean they're getting a free pass. In fact, quite the opposite.
 
When you love a band this much, expectations tend to be considerably higher. Their latest release arrives with ten tracks spanning approximately 39 minutes, and there's plenty of musical growth packed into that runtime. Produced by Mark Lewis and mastered by Justin Sturtz, 'Empty on the Inside' delivers a powerful, polished recording that allows both the aggression and the more melodic elements to stand out. The guitar work, percussion, atmospheric touches, and Chaney's increasingly diverse vocal approach demonstrate a band willing to explore its capabilities without completely abandoning its roots.

"Hell Is a Part of Me" opens exactly how you fucking hope an ENTHEOS album would. No, Chaney, immediately ripping your face off, at least not yet. Instead, we're greeted by some absolutely nasty guitar work that establishes the mood before those unmistakable gutturals come charging through. Whoever put this opening together knew exactly what they were doing! Having photographed Chaney live, I can practically picture that massive fucking boot of hers coming straight toward my camera as the song erupts. If you've seen ENTHEOS perform, you know the boot I'm talking about. What makes this opener particularly impressive is the balance between her monstrous extreme vocals and the melodic passages woven throughout. There's aggression, there's control, and there's enough technical musicianship to remind you exactly who you're listening to.

The title track, "Empty on the Inside", takes a slightly different approach. An industrial-sounding introduction initially caught me off guard during my first listen, which happened while I was out taking one of my daily walks. Instead of being greeted by the expected screaming and gutturals, Chaney comes in with clean, melodic vocals. For a brief moment, I wondered whether ENTHEOS had decided to completely change its sonic identity. Then, roughly 30 to 45 seconds later, there's that fucking brutality I came looking for! The guitars are crunchy, the transitions feel natural, and Chaney demonstrates how effectively she can move between melody and absolute punishment. Two songs into the record, and we're already two for two.

"Hollow" turned out to be one of those songs that grew on me considerably. My first impression was positive, but nothing particularly jumped out. After several complete playthroughs, however, I found myself genuinely loving it. There's an infectious groove running through the track, supported by melodic guitar work and a slightly more restrained vocal approach. Chaney leans further into her cleans while introducing this wonderful rasp that sits somewhere between her melodic singing and harsher delivery. It doesn't need to beat you over the head with gutturals to demonstrate how talented this band is. Sometimes allowing the instruments and vocals to breathe creates something equally effective.

"Call My Name" brings back the crushing double bass, heavy grooves, and layered vocal techniques, but it's also where I found my first minor criticism. At approximately four and a half minutes, the song begins to feel somewhat repetitive. The musicianship is excellent, and Chaney continues demonstrating just how many vocal textures she can produce, but the arrangement doesn't hold my attention quite like the previous tracks. Lyrically, there's an emotional struggle surrounding identity, purpose, and the desire for someone to hear you. I appreciate the writing and the aggression behind its delivery, but somewhere along the way, I wanted another musical shift to break up the repetition. It's a good song, just not one that leaves the same lasting impression.

And then we arrive at "Golden Crown". HOLY FUCKING SHIT!

I completely understand why ENTHEOS selected this as the album's first single. This is easily one of the strongest songs on the record and is already making a serious argument for becoming one of my favorite ENTHEOS tracks, period. The arrangement is fantastic, moving between beautiful clean passages, gritty vocal textures, and moments of absolute ferocity. But we need to talk about THAT fucking scream. When Chaney begins hammering out those repeated "they never come" lines, one after another, there's something almost indescribable about her delivery. It isn't quite a traditional guttural, and calling it a rasp doesn't begin to do it justice. It's ferocious. Absolutely fucking ferocious. This is the kind of vocal performance that makes me stop whatever I'm doing and replay the moment just to experience it again. Everything about this song works, from the musicianship to the vocal arrangement. Fuck yes, Queen!

Unfortunately, this is also where the album's momentum begins to change, and it's the biggest reason 'Empty on the Inside' doesn't receive a perfect score from me. "Undone" follows one of the most explosive tracks on the record, and suddenly someone slammed on the brakes. Don't misunderstand me; "Undone" is an excellent song. Its lyrical exploration of identity, regret, and emotional isolation carries genuine weight. But coming directly after "Golden Crown", the dramatic shift in energy feels like falling off a cliff. It's not the songwriting I question. It's the placement.

"Tomblight", featuring Michael Lessard of THE CONTORTIONIST, continues along a similar emotional path. There are heavier moments scattered throughout, and Lessard's guest appearance adds another vocal dimension. Chaney's clean singing is beautiful, and the limited use of her extreme vocals feels intentional and well-placed. Together, "Undone" and "Tomblight" explore a more vulnerable side of ENTHEOS, and I appreciate the lyrical continuity between them. I'm not a musician or recording engineer; I'm simply a metalhead who has spent decades listening to albums from beginning to end. I understand why these songs belong together emotionally, and I applaud the band for exploring that territory. But from a listener's perspective, placing two considerably more restrained songs immediately after such an explosive opening stretch creates a steep decline in momentum. Perhaps that was intentional. It just doesn't completely work for me.

But if you're worried that ENTHEOS has forgotten how to deliver a proper ass-kicking, allow me to introduce you to "Pale Faith". YES! FUCKING YES, CHANEY! The opening plea for a hymn of hope immediately caught my attention, but what follows is some of the nastiest material on this record. The snare hits have that sharp, aggressive pop, the guitars are chugging away, and the entire song carries this fantastic rhythmic intensity. There are moments when Chaney's rapid-fire delivery reminds me of Corey Taylor's cadence during the late-'90s and early-2000s SLIPKNOT era. I'm not suggesting these bands sound alike, because I genuinely dislike making those comparisons. It's that almost percussive style of phrasing, where the vocalist fires off lines so quickly and precisely that the voice becomes another rhythmic instrument. Listen to the fucking song, and you'll understand what I'm talking about.

Beyond the musical punishment, "Pale Faith" also delivers some of the album's most memorable lyrical moments. The repeated confession about finding God and admitting that promises made to oneself were lies carries a different sort of brutality. There's emotional honesty underneath the screaming, and the combination makes the track hit even harder. This is easily one of my top three songs on the album, alongside "Golden Crown" and "Hell Is a Part of Me". After the slower middle section, hearing ENTHEOS return with this much aggression is exactly what I needed.

Then comes "Never Let Me Go", and I'm going to say something I rarely say about a band I love this much. I don't fucking like it. And here's the frustrating part: it's a beautiful song. Chaney's melodic performance is excellent, the songwriting is thoughtful, and the lyrical exploration of loss and longing makes sense within the album's larger narrative. I can absolutely imagine this track introducing ENTHEOS to listeners who gravitate toward the more melodic side of modern metal. It could easily find an audience through SiriusXM, streaming playlists, or even become an emotional breather during a live performance. But immediately following "Pale Faith", it brings the momentum down again. Personally, I would have preferred hearing it alongside "Undone" and "Tomblight", allowing those three songs to occupy the same emotional stretch of the album. I appreciate what ENTHEOS created here, but appreciating a song and enjoying it are two different things.

And here we are. "The Earth Will Move". What an absolutely fantastic way to finish this album. From its opening reflections on silence, incompleteness, and family identity, there's something about this track that immediately feels like the conclusion to a much larger story. It isn't my favorite song on the record, but it might be the perfect representation of everything ENTHEOS has been and everything they're becoming. The melody, aggression, emotional depth, and musicianship come together in a way that gives the record a genuine sense of completion. Lyrically, there's a movement toward acceptance, an acknowledgment that life continues regardless of what we've experienced or what we've lost.

I've said this countless times in my reviews: I'm an album guy. I don't just pick through singles and call it a day. I want the full experience. I want the story the band has chosen to tell, beginning with the opening note and ending with the final breath. And that means an album needs an opener that grabs your attention and a closer that makes the journey worthwhile. ENTHEOS absolutely nailed both! When "The Earth Will Move" finishes, I can leave continuous play running, roll straight back into "Hell Is a Part of Me", and begin the entire fucking journey again without missing a beat. That's how you close a record, and whoever made that final sequencing decision deserves a high five.

So where does that leave us? Four out of five stars and let me explain why.

'Empty on the Inside' is a fucking great album. The production is excellent, the musicianship is outstanding, and Chaney's ability to navigate between beautiful clean melodies and some of the most ferocious extreme vocals in modern metal remains a major strength. "Golden Crown", "Hell Is a Part of Me", and "Pale Faith" have already earned permanent positions on my playlists for those rare occasions when I'm not listening to an entire album. Every song on this record demonstrates considerable craftsmanship, but the sequencing through the middle and latter portions prevents the album from achieving a perfect score in my book.

Five-star albums are rare for me. I don't hand those ratings out like fucking “Cracker Jacks prizes.” When something earns a perfect score, the entire experience needs to deliver, not simply a collection of excellent individual songs. My criticisms aren't directed at the band's willingness to grow, their songwriting abilities, or Chaney's expanding vocal range. I applaud all of those things! I simply believe the placement of certain tracks changes how the album flows, and that's enough to separate an outstanding record from one I'd consider perfect.

And that brings me back to Chaney Crabb. I stand by everything I've said about her. She's one of the finest extreme metal vocalists working today, and in my personal ranking, she's sitting right at the fucking top! I know plenty of people will disagree, bringing up this vocalist and that vocalist. Blah, blah, fucking blah. I respect them all, but I stand by what the fuck I said! Putting Chaney in the same conversation as Karyn Crisis is one of the highest compliments I can give an extreme metal vocalist. For me, CRISIS and 'Deathshead Extermination' helped establish that standard decades ago and hearing what Chaney continues to accomplish with ENTHEOS makes this old metalhead incredibly happy!

So, ENTHEOS, consider this a well-earned four-star salute from your resident Deathcore Daddy. You've created an excellent record, pushed your musical boundaries, and reminded me why I've followed this band for so long. And Chaney, that invitation to photograph you in Las Vegas still stands.

Agree with my review, disagree with it, tell me I've lost my fucking mind. That's part of what makes this music so much fun. But whatever you do, go buy the fucking album, support the band, and continue supporting the extreme metal scene!
Stay Safe, Stay Metal, and Always Be Kind.🤘

4.0 Out OF 5.0