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.
The Sex Pistols, The Stranglers, The Undertones & Panic Shack – Cardiff Castle – 01.08.26
This castle has seen many things, but tonight may be something new, as the keep towers over the castle grounds there is a rumbling…the Punks are coming.
Celebrating 50 years of Punk, the Sex Pistols with Frank Carter are here to take us on a journey from Punk’s inception, and those turbulent and innovative days back in the late 1970s.
Starting the afternoon were Welsh band Panic Shack (7), bringing an energy that was truly infectious. Hailing from Cardiff, the male-backed band ripped through a confident and electrifying set of punk rock tunes. Sarah Harvey (lead vocals), Meg Fretwell (guitar, backing vocals), Romi Lawrence (guitar, backing vocals), Emily Smith (bass) and accompanied by Nick Doherty-Williams on drums engaged with the crowd and looked every bit a headline act in waiting, songs such as Jiu Jits You, Tit School and Ick were standouts in a set that should ignite the interest of any punk rock fan young and old, a tremendous outing by the five piece that set the tone for the evening ahead.
Following Panic Shack were Norther Irish stalwarts The Undertones (7). Kicking off with Jimmy Jimmy and flowing into You’ve Got My Number (Why Don’t You Use It) and Male Model the audience was hooked, by the time the indelible Teenage Kicks arrived the tempo shifted upwards. Ending a well balanced set with My Perfect Cousin The Undertones proved to be a more than welcome addition to the lineup.
Soon it was time for The Stranglers (8) to take the stage. Toiler On The Sea beginning what would be a fantastic set, the audience with them every step of the journey. Duchess & ‘Nice ‘n’ Sleazy’ preceded the ever popular ‘Golden Brown’ & ‘Peaches’, their unique sound complimenting the speed and energy of the support bands, ‘Always the Sun’ a tempo shift before ‘Hanging Around & ‘No More Heroes’ round of a brilliant set and very much laid the way for the main act to take to the stage.
The Sex Pistols (8) need no introduction, but for those very few amongst us who aren’t familiar with one of British Punks originators, Guitarist Steve Jones, Drummer Paul Cook, Bassist Glen Matlock definitely made themselves and their legacy known. Front man Frank Carter, of Gallows & Rattlesnakes fame felt a perfect addition to the band, ‘Holidays in the Sun’ beginning a raucous set of Punk classics. Not long into the set the brilliant ‘Pretty Vacant’ was sung by Carter in the thick of a circle pit, surrounded by feverish fans young and old, very much showing the world that Punk is not dead. As ‘God Save The Queen’ was displayed on the huge screen and guitar chords rattled it really was a pinch me moment, these songs helped to usher in a movement and still resonate as strongly today as ever. As the band prepared for ‘No Feelings’ Carter demanded all Men to vacate the mosh pit, creating a Women’s only space as the drums pounded and guitars rang. Finishing their ferocious set with ‘E.M.I.’, a cover of ‘My Way’, then straight into ‘Anarchy in the UK’ was the perfect statement to punctuate a fantastic night of nostalgia and everlasting punk energy, you really had to be there.
Music can often feel like a journey. The listener is taken on an emotional ride with the musicians at the helm, inviting us to reflect on our own lived experiences as their music scores the way. The fittingly titled ‘Takeoffs & Landings’ by Leeds-based instrumental post-rockers Din Of Celestial Birds charts both a physical and emotional voyage for the band. Since the release of their 2023 debut ‘The Night Is For Dreamers’, the band has taken their sound on the road with critically acclaimed appearances around the globe. During these upward career trajectories, the band has also experienced personal losses, with some of the music here written as catharsis and a tribute in the face of the most challenging experiences. Anyone who has seen them live already knows of the profoundly intimate and genuine relationship Din Of Celestial Birds has with their fans, and whilst the songs that make up ‘Takeoffs & Landings’ are written about their personal experiences, the band are keen for these tracks to be open to interpretation to the listener also.
The title track opens the album in spectacular fashion as flickering guitar melodies are propelled along by energetic drums and a pulsating bass line, with the whole track feeling like it’s about to leave the runway and soar high above the clouds in a vast expanse of blue. It’s simultaneously life-affirming and bittersweet, the feeling of leaving something behind as you venture into uncharted territories. ‘Marmoris’ follows in similar fashion, with the graceful guitar melodies of chief songwriter Andie Gill and fellow six stringers Tom Hazelhurst and Chris Core intertwining to mesmerising effect. It’s hard to avoid the flying metaphors with an album called ‘Takeoffs & Landings”, but the songs here are filled with such soaring movement and wonder that the feeling of propelling motion is ever present. Indeed, in the album’s quieter passages, there is a sense that even when time appears to stand still, life subtly moves ever forward, like on the spacious and stirring ‘From This Summit We Can See The Heavens’, which conjures a twinkling tapestry as enormous as a starlit sky. Likewise, the epic grandeur of ‘You Are My Temple’ manages to sound both tender and colossal as subdued passages give way to galaxy-sized melodies and riffs that pack serious heft.
Elsewhere the breathtaking beauty of the second half of ‘When Suddenly…” is the most heartrending music the band have penned thus far, as plaintive pianos give way to charging drums, melancholic synths and an epic choral-like zenith that carries the listener up into the warm glow of the heavens. The affecting ‘I Hope That Road Leads You Somewhere Beautiful, Somewhere You Belong’ is another highlight. It’s a deeply personal track, penned following the tragic death of Gill’s partner Roisin in early 2025 during a time of intense grief. The song is also a beacon of light, a memorial of sorts and a reminder that those we lose shine on in the light they leave behind. The shimmering guitar melodies are heartbreakingly delicate, buoyed by sensitive synths and delicate drum patterns, adding to the track’s fragile, beguiling nature.
Huge credit goes also to producer Joe Clayton, who manages to capture the band’s full splendour in dazzling aural technicolour. The band themselves have admitted to wanting a richer sound for this album, to make use of the possibilities that the studio can provide, with synths and double tracked guitars creating a more intricate sound than we’ve heard from them before. This also is what lends the music its more cinematic feel, with Clayton making even the smallest detail visible within the radiant panorama. With ‘Takeoffs & Landings’, Din Of Celestial Birds has documented the adventures and personal odysseys that they’ve traversed over the past few years, and have entrusted us to accompany them too. But more generously, with these mesmerising songs, they’ve provided a soundtrack we can apply to our own lives; music that we can take into our hearts, to be a source of comfort in our own journeys too.
Peter Katsis, the former manager of Korn, Limp Bizkit, Smashing Pumpkins, Jane’s Addiction, Ministry and more, has died aged 69.
Katsis passed away on August 6 due to complications from congestive heart failure, Variety reports.
A native of Chicago, Katsis discovered and managed Ministry in the early ’80s, before moving to Los Angeles to work with artists including The Cramps. In 1997, he became a partner at LA management company the Firm, where he helped guide the careers of Korn, Limp Bizkit, Audioslave, Thirty Seconds To Mars and more, including pop superstars the Backstreet Boys.
In 2008 to 2014, Katsis and Firm CEO Jeff Kwatinetz co-founded Prospect Park Entertainment with Rich Frank, adding Smashing Pumpkins, Jane’s Addiction, Bush and Ice Cube to their roster.
Smashing Pumpkins frontman Billy Corgan was among the first musicians to pay tribute to Katsis following his passing.
“Heartbroken that Pete is gone,” he posted on Instagram. “He meant a lot to Chloe and I as a dear friend and extended member of our family. He will be missed and I’ll always cherish his intense candor and deep love of great music; which was infectious. And he deserves immense credit for helping to usher in the alternative revolution of the 80’s and 90’s and beyond. He was truly one of a kind. One of a us. And Chicago royalty through and through.”
MInistry’s Al Jourgensen also expressed his condolences.
Rest in power Pete,” he posted. “He was our first manager in 1981. May your next journey be as prodigious as this one. We (Ministry camp) loved you. Safe travels my friend.”
“Peter was a force of nature”, Bush frontman Gavin Rossdale told Billboard. “He lifted me up personally like no other and he drove our band towards the stars at all times. He will be deeply missed.”
It comes back to control me What it said is stuck on me It comes from the shadows So elusive to me
Portland duo Princess Ugly approach labour as something closer to possession on their new single, The Work, turning the ordinary language of obligation into a study of creation, anxiety, and control. J. Christopher-Rome’s lyrics begin with familiar pressures: unfinished tasks, the reluctance to ask for help, the nagging sense that something remains unresolved…before those pressures acquire a strange agency of their own. Work ceases to feel like an activity and begins behaving like a presence, capable of following its creator home.
Christopher Moncrieffe builds that unease into the arrangement through clipped electronic rhythms, stern bass movement, and the mechanical forward motion of classic EBM. There is enough post-punk space around the instrumentation for Rome’s voice to carry the psychological weight, while the programming maintains a physical momentum suited equally to headphones and a crowded club. The tension comes from how naturally those two impulses coexist: the body is encouraged to move while the mind gets trapped inside a recurring thought.
Rome delivers the words with the exhausted concentration of someone attempting to identify a fear while still living inside it. Memory becomes another form of labour, something requiring constant maintenance before it can be trusted, and even dreams appear subordinate to productivity. Images of dust, unfinished construction, and something sharp waiting in the dark give the song an almost metaphysical dimension. Creation rises out of debris, yet the resulting object seems capable of turning upon its maker.
The song recognizes a contemporary condition in which occupation, identity, output, and self-worth have become increasingly difficult to separate. You build something, maintain it, remember why you started, and eventually discover that the structure has developed requirements of its own. Princess Ugly allows that cycle to remain unresolved, which suits a piece concerned with repetition and the unease of never reaching completion.
Watch the video for The Work below:
Listen to the Leæther Strip Remix of The Work below and order the singlehere.
Claus Larsen pushes those instincts toward the dance floor on the accompanying LEÆTHER STRIP Remix. His version thickens the percussion and sharpens the electro-industrial attack, giving the track a harder, more immediate propulsion without losing its underlying dread. Larsen treats the original’s anxiety as fuel, transforming psychological pressure into movement.
Together, the two versions make The Work feel less like a conventional song about employment than an examination of creation becoming obligation, obligation becoming authority, and authority eventually learning how to follow you home.
Bloodstock 2026 is finally upon us, and we return to the hallowed turf of Catton Park for the 25th anniversary of this great festival. The first day is usually very much the bedding-in day with a handful of smaller acts performing in the Sophie Lancaster Tent.
This year there is change afoot as the main arena and Ronnie James Dio stage are opened for the first time. Subsequently, we have two stages to cover, although proceedings do not get underway until late afternoon, so the fare on offer is reduced.
That being said, the day is closed out by the Mighty Saxon, who played the very first Bloodstock festival in Stoke a quarter of a century before.
However, before we fall entranced by their mighty Metal, there are some other bands to consider.
Heavysaurus – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
Heavysaurus
First up, with a serious amount of tongue-in-cheek come Germany’s Heavysaurus. It is what it says in the name. Heavy Metal dinosaurs, and no, we have not been on the beer yet either.
Bloodstock has always had a reputation as a family-friendly festival despite the more extreme nature of some of the acts that will play over the weekend. Heavysaurus are definitely for the kids, whether little ones or much bigger kids who should know better and after all these years still do not.
Heavysaurus – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
Musically, it is standard run-of-the-mill classic rock fare. But they are entertaining and ham it up to the perfect level. That said, I have to be honest, we are probably never going to hear or see Don’t Stop Believin’, Highway To Hell or We Will Rock You in quite the same way ever again.
Scarred for life, but fun.
Heavysaurus – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
Evil Scarecrow
We know things will take an upturn as the weekend progresses, and next up are long-term festival and BOA faves Evil Scarecrow who have always been a popular addition to any bill.
Evil Scarecrow – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
Although I have to be honest, the tongue-in-cheek humour is still very much to the fore. Unsurprisingly, they deliver their own interpretation of a mad, over-the-top, and completely bonkers Metal show. This is a perfectly balanced set of killer Metal with comedy.
Frontman Dr. Hell kept the crowd engaged with constant banter and theatrics.
The band brought a healthy crowd of early Bloodstock attendees whose energy was excellent, with plenty of singalongs. There were a few crowd surfers who wanted to kickstart the weekend in the best way.
Evil Scarecrow – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
What do you want from a band? Well don’t answer because they will provide it. If there is a band here this weekend who really know how to work a crowd, then it is Evil Scarecrow. It is daft, it is fun, it is seriously good Heavy Metal. The main thing is not to take them seriously.
There is enough onstage messing around and frivolous theatrics to last a lifetime, whether it is a caricature of Donald Trump throwing Dollar bills around (it did not take long for someone to have a dig at him), or inflatable balls and spiders and a good dose of pyro.
Evil Scarecrow – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
Of course, we still have all the charismatic and bizarre onstage characters as well as the death makeup and splattering of blood. Good unhealthy fun, that’s what it is and all in the best possible taste.
Despite all this stage presence, Evil Scarecrow also have the songs (and song titles) as well. Whether it is Green Bin Day, March Of The Spider God or Crabulon, they have something for everyone. We have often heard it said that Metalheads are scary. If you saw them dressed as dinosaurs and shuffling from side to side whilst waving hands in the air in a crablike manner, then you may well change your mind.
Evil Scarecrow – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
Mad, in a good way, but definitely not dangerous.
This was a memorable performance by the lads to kick off the weekend as the second band following Heavysaurus. Crabulon was a particular highlight in the set, with the crowd singing and dancing along.
The Nottingham lads who clearly love putting on a performance will be welcome back again after five years away from the Catton Hall grounds.
Saxon
Finally Main Stage sanity is restored with headliners and Metal Gods Saxon. Saxon proved exactly why they remain one of Heavy Metal’s most enduring institutions, delivering a triumphant Thursday night headline performance.
The band, who are 50 years and counting into their career, show no signs of stopping.
Saxon – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
As the very first headliner at the original Bloodstock in 2001, their return to close this year’s opening day felt very full-circle, with thousands gathered to honour these Metal legends as the band took the audience through their discography with a meticulously crafted set.
The whole band were on fire, but Biff Byford particularly was in outstanding form throughout, his unmistakable voice showing little sign of age despite five decades of his craft. Addressing the crowd, he reflected on everything Saxon had experienced over the past 50 years, reminiscing about an era before Facebook, TikTok and streaming, when discovering Heavy Metal meant spinning vinyl records and cassettes.
Saxon – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
The atmosphere was one of genuine celebration. Byford declared that everyone present was now part of the “Saxon family”, and the audience embraced that sentiment wholeheartedly. Fans young and old packed the field, with a constant stream of crowd surfers passing overhead as generations of Metalheads were seen.
Saxon – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
It perfectly captured the community spirit that has always defined both Saxon and Bloodstock as the band delivered a set of greatest hits that provided everything that either a long-term fan or a newbie wants. Strong Arm Of The Law, Wheels Of Steel, 747, Dallas 1 PM, Princess Of The Night, it goes on and on.
Saxon have still got it, and what a way to close out the main stage of Bloodstock’s 25th anniversary opening night.
Saxon – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
Cryptopsy
Cryptopsy brought the opening day of Bloodstock’s 25th anniversary to a devastating conclusion, making a long-awaited festival debut by headlining the Sophie Lancaster Stage.
Walking on to a tape of Metallica’s For Whom The Bell Tolls, the Canadians were met by an enormous crowd that had stayed out until the 10:40 pm start, with anticipation at fever pitch for one of Technical Death Metal’s most revered acts.
Cryptopsy – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
Celebrating 30 years of their landmark 1996 album None So Vile, the hour-long set focused predominantly on the record that many fans regard as one of the defining releases and among the greatest of all time in the genre.
The band’s upgraded production elevated the performance even further. Twisted and disturbing visuals filled the giant backing screen throughout the set, perfectly complementing the music’s relentlessness, while an endless stream of crowd surfers and a constantly rotating circle pit drove the tent into absolute carnage.
Cryptopsy – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
Despite the late finish approaching midnight, the crowd showed no signs of slowing down, feeding off the band’s relentless energy from start to finish.
The current lineup of Matt McGachy, guitarist Christian Donaldson, bassist Olivier Pinard and drumming phenomenon Flo Mounier appears incredibly tight-knit. McGachy is an exceptional frontman who pays homage to the legacy of Lord Worm while also imprinting his stamp on the band as he approaches 20 years in the quartet.
Cryptopsy – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
This appearance formed part of the band’s Malicious and Vile Summer Tour. As a huge Cryptopsy fan, this marked my third time seeing the band live, having previously caught them twice, most recently on their None So Vile 30th anniversary tour in Manchester earlier this year.
Remarkably, they still managed to raise the bar once again as a very talented group of musicians. On a personal note, it was great to meet the band again earlier in the day at the signing tent, and it was nice that they recognised me.
Cryptopsy – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalk
Bloodstock 2026 will be held over the long weekend of 6-9 August 2026. MetalTalk’s Matty Hunter, Adrian Stonley and Keith Conlin will report from Catton Park.
Take Part: Were you at Bloodstock this year? Who did you enjoy seeing the most? Email MetalTalk Editor Steve Ritchie to share your experience at Bloodstock@MetalTalk.net.
#boa26. For more information, visit bloodstock.uk.com. You can view a map of BloodstockHERE.
Bloodstock 2027 will be held over August 5th – 8th. Early bird standard weekend tickets will be available at the main entrance box office throughout the festival, priced £210.00 with no booking fee. Tickets can be purchased online from Monday 10th August at 9 am at the official Bloodstock website.
Saxon – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalkCryptopsy – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalkHeavysaurus – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalkHeavysaurus – Bloodstock Festival 2026. Photo: Adrian Stonley/MetalTalkThe post Bloodstock Festival 2026 – The Thursday Review first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
SYREETA brings a sleek tech house groove to This Song, built around chunky basslines, crisp percussion, and a rolling rhythmic pulse designed for the dancefloor. The production keeps things tight and energetic, allowing the groove to drive the track while melodic details and vocal elements add character and movement. With its confident club-ready feel, the track sits comfortably between contemporary house and techno, reflecting SYREETA’s instinct for reading a crowd and building momentum. Hypnotic, punchy, and effortlessly danceable, This Song delivers a polished electronic workout with enough melodic edge to keep the groove engaging throughout.
Portland, Oregon trio Hippie Death Cult are excited to announce the signing of a new contract with Blacklight Media / Metal Blade Records. The band will be roadbound for the remaining weeks of summer and much of the fall beginning with a US tour that runs from August 14th through September 12th. After this run, the band will head to Europe on September 30th for another stretch of live dates through November 1st. Read more…
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?
