#progressivemetal — Public Fediverse posts

Much of underground metal is fueled by the devotion of single-minded enthusiasts. For every obscure band that spends years lingering between major releases, there are several solitary creators like Gary Brents or Damián Antón Ojeda whose prolific output forms a substantial part of the genre’s global ecosystem. Die Entweihung is one such project, serving as the creative outlet for Israeli multi-instrumentalist Denis Tereschenko. Over the past 15 years, Tereschenko has released an astonishing 11 full-length albums under the Die Entweihung banner. I’d never encountered his work before, but the project’s latest release, Worldwide Terror, landed in our overflowing promo bin promising a blend of progressive thrash and classic heavy metal. Joined by vocalist Alena 7, Tereschenko aims to deliver a forward-thinking, challenging record fit for a turbulent era. With that much experience behind him, does Die Entweihung’s twelfth full-length live up to its ambitions?

The particular brand of thrash on Worldwide Terror feels ripped straight out of the mid-80s. This is a vintage flavor of the style that largely eschews modern production and tonecraft for an analog-flavored, heavy metal-adjacent payload that recalls early Overkill, tempered with flashes of Voivod. The eponymous opener sets the stage with the expected power-chord gallop, but tempers its aggression with subtle melodic keyboard lines throughout and largely succeeds as a piece of throw-back enjoyment. Tereschenko deploys plenty of energetic, odd-meter riffs, and his active bass work and grounded drumming style provide some much-appreciated instrumental meat even as the song rides a standard structure for just a tad too long. On tracks like this and “Warriors of the Lie,” Die Entweihung reads as competent prog-tinged retro thrash executed with just enough personality to keep things engaging, but the same cannot be said for much of the album’s runtime.

Alena 7’s vocal performance on Worldwide Terror recalls the hard-rocking delivery of Doro Pesch or Lee Aaron, lending Die Entweihung a distinctive, campy personality even when the vocal lines themselves fall short. She switches between throaty mid-growls and charmingly unpolished operatics, but too many songs are undermined by grating melodies. The hooks on “Newborn,” “Really Your Life, and “Eight Billion Headed Whore” are particularly tough to stomach, actively detracting from the listening experience. Thrash may not be known for stellar vocal performances, but the record’s heavier traditional-metal leanings and vintage production place far more emphasis on the vocals, making their inconsistencies difficult to ignore. As a result, the back half becomes a slog, particularly when the shaky vocals are compounded by increasingly uninspired songwriting.

There are plenty of exciting instrumental moments on Worldwide Terror, but the disparate pieces rarely coalesce into satisfying songs. Die Entweihung largely deploys all-too-familiar riffs and songwriting clichés that just fail to register as anything interesting. Tereschenko is a skilled musician who understands the assignment, yet his compositions too often feel plodding and directionless. Every track stretches past the five-minute mark, and there simply isn’t enough substance to justify those runtimes. “The Darkest Morning” and “Newborn” push seven and eight minutes, respectively, and while both feature dynamic shifts and notable turns, their transitions are clumsy enough that every minute of their length is felt. Occasional flourishes, like the strings and saxophone interjections on “Generation of Pawns,” add some welcome texture but can’t rescue songs that fundamentally lack momentum. Moreso, the record features two full-length instrumentals (“Generation of Pawns” and “The Brightest Night”) which offer little structural variation and ultimately feel more like unfinished compositions in search of vocals.

It brings me no joy to pen such a negative review of a small artist, but I struggled immensely to make it through repeat listens of Worldwide Terror. Die Entweihung has delivered an album of overlong songs built around riffs that are simultaneously boilerplate and ineffective, further kneecapped by some genuinely unpleasant vocal lines. It’s clear that Tereschenko is both a veteran of the scene and a talented musician, but this entry in his prolific catalog is best left unattended.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Morbid and Miserable Records
Websites: morbidandmiserable.bandcamp.com| instagram.com/dieentweihung
Releases Worldwide: August 7th, 2026

Today's music:

MORPHIDE - Of Healing Part 1 - Denial

https://youtu.be/KSuXOaA2-n4

#metal #ProgressiveMetal #metalcore #latvia #music #np #NowPlaying #MastoMusic

My #UnpopularOpinion:

Tourniquet was Ted Kirkpatrick’s band. When he passed away, the band essentially ended.
Gary Lenaire’s attempt to keep it going under his leadership feels pretty weak, especially given his behavior.
It’s a shame several concerts got cancelled for unclear reasons.

#USA #HeavyMetal #SpeedMetal #ProgressiveMetal

My #UnpopularOpinion:

Tourniquet was Ted Kirkpatrick’s band. When he passed away, the band essentially ended.
Gary Lenaire’s attempt to keep it going under his leadership feels pretty weak, especially given his behavior.
It’s a shame several concerts got cancelled for unclear reasons.

#USA #HeavyMetal #SpeedMetal #ProgressiveMetal

Since the last Filter dropped, it still hasn’t stopped raining and storming in my neck of the woods. Consequently, my minions trudge evermore through the thin sheet metal of our ducts as the thunder rattles everything like so many dice in a tabletop nerd’s clutches.1 Yet I must press them and push them, for we have quotas to meet and ravenous appetites to sate.

So it is with shaky hands and discombobulated craniums that my grunts hand over the goods. BEHOLD!

Kenstrosity’s Thrashed Thrall

Ascended Master // Crepuscular Gloom [May 8th, 2026 – Self Released]

Death thrash is best thrash, if you ask this sponge. Something about this unholy combo really rustles my jimmies, especially when its executed with great speed and riff-centered fervor. Cincinnati’s Ascended Master nail that combination right into the grave, boasting a sound that’s three parts Death, one part Atheist, and a pinch of Blood Red Throne. With a sense of groove that gives barnburners “Blood Spilled Upon the Stars,” “Crepuscular Gloom,” and rabid closer “Xenopaleontology” a deadly swagger liable to cause fierce whiplash in all who would headbang to it, debut LP Crepuscular Gloom” is a record pumped full of testosterone and adrenaline. Speedy rippers like “Midnight Mother” and “Ghoul Queen” put the pedal to the metal with a ferocity more commonly associated with Kvaen or Hellripper in the modern pantheon, but the record’s natural engineering and coherent screams hark to earlier times where Death reigned supreme in the scene. However, it would be inaccurate to call it pure worship. Ascended Master have an intense personality and a particular ferocity that allows Crepuscular Gloom to integrate smoothly into their respective category without blending into the crowd. As their career develops from this point, I expect we’ll see their identity bloom and rise with greater distinction, further setting them apart and threatening year-end lists all around. Just wait, you’ll see!

ClarkKent’s Prehistoric Pulls

Ilienses Tree // Toward the Storm [May 1st, 2026 – Meuse Music Records]

Ilienses Tree sow their roots deep into the island the band originates from—Sardinia, just off the coast of Italy. Their name, Ilienses, refers to an ancient Nuragic civilization that, during the Bronze Age, built impressive stone tower structures that still stand today. While the band isn’t nearly so old, their second album, Toward the Storm, dabbles in the sort of slow, deliberate doom that speaks of the patience of those ancient ruins. They lean towards a style of funeral doom that has the brutal power of My Dying Bride, but their record also contains the unpredictable dynamic drumming of Oromet and sneaks into speedier death/doom territory akin to Paradise Lost and Novembers Doom. Ilienses Tree have a mastery over melancholic lead riffs, such as the one that opens “To Not Be Forgotten.” “Sudden Rain” flexes the band’s creative muscle most impressively. Beginning in a slow burn and anchored by a poignant guitar lead, the song has a sudden burst of energy, turns in a lovely duet between arpeggiated riffs and bass, and features several more memorable and distinct guitar leads. Though the songs average nine minutes, they fit neatly into a 38-minute record, and thanks to progressive structures, they never feel overlong. If you’d like some music that simultaneously hits you in the feels and provides a shot of adrenaline, then go towards, not away from, this storm.

Anna Fiori // Metztli [May 21st, 2026 – Self Released]

Sometimes symphonic metal bands grow a touch stale from a failure to innovate, relying too heavily on the gimmick of symphonic instruments. Anna Fiori, however, has created something pretty special, with a Mexican/Aztec twist on the genre. Her band mixes “pre-Hispanic instrumentation” with cinematic symphonics and heavy guitars to create thrilling high-energy music. While some songs hit a more poppy Beyond the Black mold (“En El Vacio”), others take a longer-form route. The nine-minute “Luna Llena (Xiki Noeso)” blends indigenous chants and flutes with orchestral elements that sometimes sound like an exciting score to a whimsical adventure film. The highlight, “Luna Menguante (Nimotemak),” contains a mix of cool riffs, flutes, and blast beats before taking us on a bonkers ride involving operatic singing, off-kilter pianos, a few solos, and perhaps the summoning of a demon or two. While the song compositions are tons of fun, Fiori’s performance ties it all together. She sings in the sweet poppy manner of Epica’s Simone Simons, the operatic style of many a Therion singer, and even some growls in the spirit of Seven Spires’s Adrienne Cowen, if not quite her power. Fiori even briefly raps on a couple of tracks, with a pretty impressive section on the outro track, “Tetzahuitl, Pt. 2: El Origen,” and goes off-script with an infectious laugh on “Entre Mil Voces.” Clearly she’s having a lot of fun. Metztli hits some of the familiar symphonic notes while injecting enough personality of its own to make for an entertaining, and sometimes wild, ride.

Grin Reaper’s Spring Fling

Beyond the Veil // Oblivion [May 1st, 2026 – Wormholedeath Records]

There’s little online information about Tokyo prog metallers Beyond the Veil,2 and while I don’t recall how I stumbled across debut Oblivion, I’m glad I did. Upon listening, I was immediately enamored by their familiar yet enchanting blend of drama and technicality. Fans of Opeth and Dream Theater will uncover a trove of unapologetic prog where Beyond the Veil weaves gorgeously conceived instrumentation into intricate compositions. Oblivion also embraces long-form arrangements, sporting six tracks ranging between seven-and-a-half and sixteen minutes each. Credit to Beyond the Veil, though, because even with such robust runtimes totaling over an hour, Oblivion never feels repetitive or bankrupt of ideas. Quite the opposite, in fact, as each listen reveals new knots to untangle and coils to unwind. Perhaps the facet I’ve come to appreciate the most as I revisit Oblivion is Beyond the Veil’s merger of piano, mellotron, and orchestrations with guitar, bass, and drums. They’re hardly the first band to do this, but each song sounds well-attuned to incorporating the right instrument for the right part rather than spotlighting heavy-handed wankery, allowing Oblivion to soar. While Beyond the Veil doesn’t break the mold with this one, getting lost in Oblivion never sounded so sweet.

Lago // Vigil [May 8th, 2026 – Everlasting Spew Records]

Vigil introduced me to Lago and their infectiously abrasive death metal, and this album is forty-two minutes of unhinged brutality flecked with melody. The blood of Immolation, Morbid Angel, and Incantation pumps through Lago’s veins, delivering unapologetic tangles of dissonant, jangling guitars, fuming blast beats, and murky bass runs beneath Cole Jacobsen’s devilishly demented gutturals. Lago’s brew is potent stuff, swirling and churning with caustic acid that will leave your eardrums scarred and cowed with nary a moment wasted. Complimenting the devastating filth Lago dredges is Gus Barr’s warbling lead guitar, which cuts through the grime with off-kilter shredding. “Behold, Ruin” and “Initiation Rite” hit with the immediacy and aplomb of Immolation, lurching onwards with Brian Miller’s timekeeping straight out of Close to a World Below’s playbook. Meanwhile, “Procession into Slaughter” and “The Land Was a Desert” launch into Azagthoth-tinged, otherworldly riffs. Everything about Lago screams danger, yet once the blood starts flowing it’s impossible to turn away from their murderously addictive violence. Once Vigil has its hooks in you, you won’t want them to Lago.

Redshift // Down the Wire [May 29th, 2026 – Pale Wizard Records]

As a massive Rush fan, Redshift’s Down the Wire immediately caught my attention with ample parallels. A power trio wielding buttery smooth bass lines, Lifeson-leaning chords, and Tiago Martins’ tender tenor call to mind Canada’s greatest export for all the right reasons. Yet Bath, England’s Redshift is more than a Rush clone, and on Down the Wire they bounce and whip in syncopated flurries and chromatic runs while dabbling with vocoded vocals and deathly roars. As the best prog does, Redshift explores vast territory in a commensurately brief runtime. Opener “The Routine” hits the Rush influence hard and early, but “The Clown” draws upon Synchestra-era Devin Townsend kookiness while “The Rogue” dabbles in Yesified eclecticism and even features guest keys from Derek Sherinian (ex-Dream Theater, ex-Yngwie Malmsteen). One thing Redshift steers away from is the self-seriousness associated with a lot of prog, and Down the Wire radiates a pervasive sense of fun. Trumpets and samba-coded melodies enliven “The Rogue” while “The Singer” assaults with fierce growls, wicked solos, and perfectly balanced instrumental interplay. Down the Wire fires on all cylinders, scorching with progressive songwriting and so much replayability that I regret not getting the chance to write a review in full. If you’re Down to the Wire and need a prog fix quickly, Redshift is a clever choice that won’t disappoint.

Spicie Forrest’s Nostalgic Nugget

Haste the Day // Dissenter [May 1st, 2026 – Solid State Records]

I haven’t heard the name Haste the Day since 2008. At the time, I was on the tail end of my metalcore phase and pushing into heavier styles, so while I recognized their quality, I didn’t latch on to them as I did other acts of their ilk. It’s a shame, because Dissenter is the sound of my adolescence. Slinging the same emo-flavored metalcore as early As I Lay Dying and August Burns Red, the Indianapolis-based six-piece offers 39 minutes of beautifully aching nostalgia. Stephen Keech’s lead vocals sound pushed and strained (complimentary), evoking the emotion of early Linkin Park (“Shallows,” “Grave”). Guitarists Scott Whelan, Brennan Chaulk, and Dave Krysl are so in sync, delivering stellar layered riffs and leads felt in the soul (“Burn”). When Michael Murphy’s bass comes to the fore, as on “Liminal,” he brings a heaviness and intensity that hurtles me back to middle school like it was just yesterday. Dissenter is a bit heavier and faster on the front end, but even the not-quite-overwrought power ballads of the back half maintain their drive and pacing thanks to Giuseppe Capolupo’s kit work (“Adrift,” “Escape”). For those of us who cut our teeth on acts like Haste the Day, late-career and comeback albums can be an anxious affair, but I’m happy to report that Dissenter is a worthy walk down memory lane.

GanEden reimagine Eve’s story with “Eva”

https://voiceofnoir.com/2026/08/04/ganeden-reimagine-eves-story-with-eva/

I really need #DreamTheater to do this song on major key.

It's awesomely hilarious.

https://www.youtube.com/watch?v=Q5Xcm47azzM

#Prog #Music #Song #Songs #ProgMetal #Progressive #ProgressiveMetal

Can't wait for Allt's new album, which is going to be released in three days!

Ataraxia [24-bit HD audio] from Allt
https://allt.bandcamp.com/album/ataraxia-24-bit-hd-audio

#metal #metalcore #progressiveMetal

#nowplaying the first released track from HYPNO5E's upcoming album 😎

Trame Noire from HYPNO5E
https://hypno5e.bandcamp.com/album/trame-noire

#experimental #metal #progressiveMetal