{"id":412363,"date":"2026-02-07T04:42:15","date_gmt":"2026-02-07T04:42:15","guid":{"rendered":"https:\/\/www.newsbeep.com\/uk\/412363\/"},"modified":"2026-02-07T04:42:15","modified_gmt":"2026-02-07T04:42:15","slug":"review-widek-entrance-into-eternity","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/uk\/412363\/","title":{"rendered":"Review: Widek – Entrance into Eternity"},"content":{"rendered":"\n

Published by Andy<\/a> on February 6, 2026February 6, 2026<\/p>\n

\"\"Artwork by: Gru<\/p>\n

Style: Progressive Metal, Djent, Post-Rock (instrumental)
Recommended for fans of: Owane, Distant Dream, Sithu Aye
Country: Poland
Release date: 16 January 2026<\/p>\n

For those who don\u2019t know, almost exactly a year ago our wonderful blog went from covering exclusively prog artists below twenty thousand monthly Spotify listeners to the full range of progressive music, underground or not. Obviously we\u2019ve covered titans of prog metal like Dream Theater, Between the Buried and Me, and, erm\u2026 Poppy<\/a>, but a stranger \u201coverground\u201d niche of music is now available for us to cover that wasn\u2019t before. One such artist is Poland\u2019s Widek, who currently sits at twenty-five thousand monthly listeners\u2014while we internally classify him as overground, he\u2019s certainly underground in the grand scheme of things, with only a cult following. I\u2019ve been one of those cult followers of the progressive\/post-\/djent rock\/metal guitarist for years now, patiently waiting for Entrance to Eternity after a seven year hiatus, so was the album worth the wait? Should Widek crack into the true overground?<\/p>\n

Superfans of the project should rejoice because Entrance into Eternity is more of the same. Airy production leaves the guitars, the focal point of the album, room to shine with spacey tones. The djent is crunchy, and the cleaner guitar parts have a sleek, fresh tone which expands to fill the atmospheric sonic space. Often breathtakingly beautiful, each Widek song varies in texture frequently; largely, the inertia of tracks rolls in the way of syncopated djent chugs into open-string tremolo strumming \u00e0 la Distant Dream. The tremolos abandon the heavier tone for a non-distorted one, providing a levity to the song that feels like floating through space and time, and the juxtaposition of the two main modes creates a nice sense of post-metal tension. You know the thumping djent is about to break into a shower of bright guitars\u2014it\u2019s just a matter of when. \u201cFalling into the Void\u201d and \u201cBeyond the Edge of Time\u201d are strongest on this front, as the former uses the album\u2019s heaviest riff before the heavenly shower of tremolos, the latter being the longest and, thereby, engaging with song structures more.<\/p>\n<\/p>\n

Guitar solos\u2014of which there are a plethora from Widek and his seven guest guitarists\u2014flow sweetly in a rich chocolate lava cake tone, many clearly influenced by the likes of Plini, but each with the performer\u2019s distinct melodic identity. As the only contributor featured on more than one track, fellow Pole Gru1<\/a> lays down solos on three, and his cosmic djent and solo style of ever-circling arpeggios gels with Widek\u2019s composition as smoothly as his fingers glide across the fretboard. The other big-name guests, Sithu Aye and Per Nilsson (Scar Symmetry), provide\u2014unsurprisingly\u2014strong solos to their allotted tracks, although neither is particularly inspired. Nilsson\u2019s solo on finale, \u201cBeyond the Edge of Time,\u201d does provide an interesting voice to the track, though, because his melodeath playstyle is far removed from the jazz fusion and djent guitarists populating the rest of Entrance into Eternity.<\/p>\n

First impressions are, of course, extremely important, and Entrance into Eternity left a positive one as I let the riffs and solos baptize me. But, when I listened closer, every track became strangely the exact same. Not once does the record vary from djent, trem picking, or guitar solos, and they\u2019re used in the same predictable structure every time\u2014the sole track with an intriguing structure, \u201cBeyond the Edge of Time,\u201d ends on a fadeout, automatically cheapening the effect of its eight-minute runtime. Entrance into Eternity is a beautiful album, but it\u2019s rather vapid, as well.<\/p>\n

Listening to an album and initially thinking \u201chey, that\u2019s great stuff,\u201d only to focus on it and be whelmed is uncanny; but, as soon as I lose focus again, Entrance into Eternity goes back to being a fun listen. I realize that previous Widek releases were like this, too, but the pattern is even more pronounced now. Beyond just the gap between releases, I think the similarity in structures is the clear reason why Widek doesn\u2019t pull in the listeners of Plini or even Owane, but listening to him is always enjoyable\u2014just don\u2019t focus too closely.<\/p>\n

Recommended tracks: Fragments of Forever, Falling Into The Void, Beyond The Edge of Time
You may also like: Gru, Modern Day Babylon, Pomegranate Tiger, Chimp Spanner
Final verdict: 6\/10<\/p>\n

Related links: Bandcamp<\/a> | Facebook<\/a> | Instagram<\/a><\/p>\n

Label: Independent<\/p>\n

Widek is:
\u2013 Widek (everything)
With guests:
\u2013 Gru (tracks 1, 2, 4)
\u2013 Sithu Aye (track 3)
\u2013 Morgan Thomaso (track 5)
\u2013 Paul Wardingham (track 6)
\u2013 Marco Sfogli (track 7)
\u2013 Brunno Henrique (track 8)
\u2013 Per Nilsson (track 9)<\/p>\n

\n\tRelated\n<\/p>\n