The Hollow Crown: ENTHEOS’ ‘Empty On The Inside’ and the Modern Metal Paradox
There’s something hauntingly apt about ENTHEOS naming their latest album Empty On The Inside. In an era where metal bands often chase technical virtuosity or production sheen, the title feels like a confession—or perhaps a challenge. Are we, as listeners, content with surface-level spectacle, or do we crave something deeper? This album, dropping in October 2026, isn’t just a collection of tracks; it’s a thesis statement on what metal can (and should) be in the 2020s.
The ‘90s Revival That Isn’t Just Nostalgia
One thing that immediately stands out is ENTHEOS’ deliberate nod to ‘90s rock and metal. Vocalist Chaney Crabb mentions channeling bands from that era for the single Golden Crown, but this isn’t your typical retro cash grab. What makes this particularly fascinating is how they’ve stripped away the nostalgia and rebuilt it with modern precision. The ‘90s were about raw emotion—grunge’s angst, nu-metal’s aggression—but ENTHEOS adds a layer of technical complexity that feels entirely contemporary. It’s like they’ve taken the soul of that decade and run it through a 21st-century filter.
Personally, I think this approach is genius. Metal has always been a genre that thrives on evolution, yet too often, bands either cling to the past or chase trends. ENTHEOS does neither. They’re not just reviving a sound; they’re interrogating it. Why did ‘90s metal resonate so deeply? Was it the simplicity, the honesty, or the sheer messiness of it? Golden Crown’s creepy synths and explosive breakdown suggest they’re betting on all three.
The Burden of Identity in ‘Golden Crown’
Lyrically, Golden Crown is a masterclass in duality. Crabb sings about a relationship that’s both empowering and suffocating, a crown that’s as much a burden as it is a symbol of pride. What many people don’t realize is how this mirrors the band’s own journey. ENTHEOS has always been a collective of heavyweights—Navene Koperweis (ex-Animals as Leaders), Scott Carstairs (Fallujah), Michael Stancel (Allegaeon)—yet they’ve struggled to define their identity outside of their members’ resumes.
If you take a step back and think about it, this song is their manifesto. The line “I’ve worn you like a golden crown year after year” isn’t just about a toxic relationship; it’s about the weight of expectation. Are they a prog band? A metalcore act? A throwback to the ‘90s? The answer, it seems, is all of the above—and none of it. This raises a deeper question: In a genre obsessed with labels, can a band truly be empty on the inside and still create something meaningful?
Collaboration Over Ego: The Making of a Modern Classic
What this album really suggests is that metal, at its best, is a collaborative art form. ENTHEOS has always been a supergroup of sorts, but Empty On The Inside feels like their first truly unified statement. Producer Mark Lewis (known for his work with The Black Dahlia Murder) and mastering engineer Justin Sturtz have given the record a raw, live feel—a bold move in an era of quantized perfection.
A detail that I find especially interesting is their decision to prioritize “authentic performances” over polished production. In an age where AI can write riffs and autotune can fix any vocal flaw, ENTHEOS is doubling down on humanity. It’s a risky move, but one that pays off. Tracks like Hollow and Tomblight (featuring Michael Lessard) feel alive in a way that most modern metal doesn’t.
The Visuals: When Art Becomes a Statement
The album’s artwork, designed by Zac Shiffer (Nine Inch Nails, Behemoth), is worth mentioning. It’s striking, yes, but what does it say? The imagery is abstract—fractured shapes, muted colors—yet it feels eerily cohesive with the music. From my perspective, it’s a visual representation of the album’s central tension: beauty in brokenness, unity in chaos.
This isn’t just marketing; it’s a philosophy. The vinyl variants (Bloodlust Red, Neon Green + Yellow Marbled, etc.) aren’t just collectibles; they’re a metaphor for the band’s approach. Each color is distinct, yet they all belong to the same palette. It’s a reminder that diversity doesn’t have to mean fragmentation.
The Broader Trend: Metal’s Search for Soul
ENTHEOS isn’t the only band grappling with these themes, but they’re doing it with uncommon clarity. The metal landscape in 2026 is crowded, with bands either chasing viral riffs or nostalgia. What makes Empty On The Inside stand out is its willingness to be vulnerable. It’s an album that asks: What happens when you strip away the technical wizardry, the genre labels, the expectations?
In my opinion, this is where metal needs to go. The genre has always been about rebellion, but in 2026, the real rebellion is authenticity. ENTHEOS isn’t just making music; they’re making a case for why metal still matters.
Final Thoughts: The Crown That Fits
As someone who’s watched metal evolve (and sometimes devolve) over the decades, Empty On The Inside feels like a turning point. It’s not perfect—no album is—but it’s honest. And in a genre that often prioritizes spectacle over substance, honesty is revolutionary.
Will this album redefine metal? Probably not. But will it challenge listeners to think about what they want from the genre? Absolutely. ENTHEOS has crafted a crown that’s heavy, flawed, and undeniably theirs. Whether you wear it or not is up to you.
