Standing in Fuel Rock Club in September 2021, it was impossible not to be totally mesmerised as Cryptic Shift played through their debut album in full. The gargantuan Visitations From Enceladus, with the sprawling 25-minute opening track Moonbelt Immolator, was an album of such complexity that I will admit to experiencing severe cranial distress as I battled with the shifting time patterns and changes.
For the uninitiated, Cryptic Shift’s sound has been described as Phenomenal Technological Astrodeath, a bruising hybrid of extreme elements, visceral passages of Technical Death Metal fusing with passages of jazz, chaotic Thrash and all underpinned by a twisted scramble of Sci-Fi themes.
It is certainly not music for those who like a three-chord progression. The Cryptic Shift line-up has been stable for some time, with Xander Bradley taking vocals and guitar, joined by the shredding prowess of fellow seven / eight stringer Joss Farrington, and anchored by the backbone of drummer Ryan Sheperson and bassist John Riley.
Cryptic Shift – brace for impact on Overspace & Supertime. Photo: Murry Deaves
If you thought Visitations was a challenging listen, then you will have to brace for impact on Overspace & Supertime, for this is a record that I could spend the rest of 2026 listening to and still not clearly understand or appreciate what is going on.
This is aural carnage, with the conceptual themes that were first delivered on EP Beyond The Celestial Remains continuing. Whilst those who follow the extreme elements of Technical Death and Thrash are conditioned to some of the patterns that scorch the earth, there are elements here which are another level of intensity.
Pushing levels ever higher, Overspace & Supertime spans over 82 minutes. Quite something for an album that has five, yes, five songs on it.
No three-minute hit here
There is no three-minute hit here. In fact, opener Cryogenically Frozen, at just under ten minutes, is the shortest offering. Two mega tracks lurk in the depths. Stratocumulus Evergaol is a crazy 30-minute ride and is classed as the spiritual successor to Moonbelt Immolator. It has got the same themes, characters from the same songs visiting the same planets with thematically similar motifs echoing the debut.
Experiencing this provides a surreal experience, and for many, something so uncomfortable that they will not last. Yet if you can grab on and brace as the maelstrom expands around you, there is much to embrace.
The band comments. “For the first movement, I wanted to drop the listener immediately into an utterly alien world with opposing chords overlapping in the strangest ways. There’s a whole song’s worth of clean guitar at the head of this song, which is unabashedly an ardent homage to Mahavishnu Orchestra.”
The story in Overspace & Supertime centres on a new character, The Recaller, who arrives in a “cybernetic shootout and mediations in dreams and consciousness” as she begins her Sci-Fi adventures.
Cryogenically Frozen crashes and explodes before a moment of calm leads into Stratocumulus Evergaol. This switch into a song that rarely rests presents some of the most aurally challenging passages of play you will hear, and it has a space battle skirmish linked into the centre. Think Blood Incantation on acid, combined with a Floydian shadow, and you will possibly come into range.
Extreme music is just that. And just the jarring opening chords of Stratocumulus Evergaol will be enough to put the casual listener into hyperspace, for this is uncomfortable and confusing in equal parts.
However, embrace the technical craziness and the Sci-Fi dominance, and you can at least appreciate the level of effort involved here. By the conclusion of this sprawling soundscape, you realise that you are merely at the midway point, and that there is much more of this ride to come.
I will admit that there is some bewilderment purely in how such complex and intricate intensity can even be created, let alone imagined. Cryptic Shift’s belief in their musicianship is their strength. This is an album for them, no one else.
Sheperson comments. “Whilst the concept themes of our sci-fi tale have grown, so have our efforts in synthesising it with the ultimate Astrodeath soundscape. The record sets out to achieve a new standard of musicianship across the band and takes the listener on a deeper journey through the fusion of our influences in the Thrash/Death Metal style, with some exciting twists and turns along the way.”
Midplace in the album, we find Hyperspace Topography. An imagining of the structure of the next dimension brought to life with explosive qualities. There are punishing riffs that rage around an overall rhythm which drives the song forwards in a kaleidoscopic combination of consonant chord structures, techniques the band notes are more at home in alternative rock settings, and even effect pedals.
The musicianship is insane. There is no other word for it. Bradley’s vocals are gruff but still resonate, whilst momentary breakdowns into jazz-edged progressive passages provide an opportunity to draw breath. The return of robo-vocals brings another edge to it, underpinned as it is with a rich melody that runs through it.
The story continues with Hexagonal Eyes (Diverity Trepaphyphasyzm), possibly the most extreme part of an album full to the brim of extremes. The flow is mesmerising, peeling guitar rips away over a battery of blastbeats before multiple time changes demand your attention.
The finale and title track conclude this complex work with another massive piece that rolls over the 20-minute mark and features some theremin solos courtesy of Mike Browning of Nocturnus and a two-minute noise section with voiceover that brings another dimension to the track.
It is a bizarre chaos that somehow makes sense, underpinned by a structure that is evident despite the maniacal trauma being inflicted.
I will admit that this is an album I have not yet got fully to grips with. It demands time and needs to run in full to really appreciate just how incredibly crafted it is. But so far, the epic nature of this intricate offering is working its magic.
With Jesse Jacobi providing some intriguing and impressive artwork that draws from Moebius’ 40 Days In The Desert to match the band’s artistic desires, and a splendid production, Overspace & Supertime is a fascinating journey.
Cryptic Shift release Overspace & Supertime on 27 February 2026 via Metal Blade Records. Pre-orders are available from metalblade.com/crypticshift.
Domhain – In Perfect Stillness (These Hands Melt) [Matt Bladen]
Northern Ireland has some awesome bands in the extreme metal genre. Many thrilling mixtures of various genres all brought together with a distinct humanity and Celtic mysticism. Domhain are categorised as a post-atmospheric black metal band, a mouthful for sure but accurate as they create a potent concoction of blackgaze, post and atmospheric black metal that allows them to sail to musical shores that many black metal bands can’t.
Consisting of players who all come from long tenured groups in their scene, they have been creating their own niche as a band for a few years now with an EP in 2023 that featured noted cellist and extreme metal collaborator of choice Jo Quail and a spilt EP with Ephemeral in 2024. What sets Domhain apart from so many of their peers is that sense of sorrow, odes to the natural world that ring true with Irish folk traditions including vocal harmonies and cello/strings.
It’s music to lose yourself in and with their debut full length Domhain want you to do just that, let the music embrace you, Una Tarra Ci Hé opening the auspices with ghostly vocals and cello from drummer Anaïs Chareyre-Méjan before Talamh Lom breaks the stillness with tremolo picking from guitarists Nathan Irvine and Ashley Irwin, launching the album proper with blasts coming from Chareyre-Méjan as the bass of Andy Ennis guides the shifting rhythms.
It’s a sprawling, intense style of black metal where cinematic soundscapes take the place of raging raw aggression, the opening of Footsteps II adding clean vocals and delicious harmonies from Andy and Anaïs, this one builds layers added every time the riff repeats, gothic overtones driven by guitars that balance melodic moments with distorted riffs, here the band are joined by John Wilson on piano and Raul Andueza on cello, to create a colossal mid-album epic.
You could make comparisons to the likes of Primordial and Darkest Era, as they certainly share musical and cultural identities, heck on the title track they even share members as Sarah Fielding provides ethereal vocals against the harshness of this doom-laden black metal track. The gargantuan sound of the record coming from Chris Fielding at Foel studios, culminating in the Opeth-like mastery of My Tomb Beneath The Tide, the multifaceted vocals really in effect to create fantastic harmonies in the introspective moments when the black metal flurries subside.
In Perfect Stillness is an incredibly polished, mature and emotionally powerful debut full length from Domhain, post, atmospheric, black, doom, call it whatever you want, it’s brilliant music from a band with a serious skillset. 9/10
Michael Monroe – Outerstellar (Silver Lining Music) [Rich Piva]
If the shit that went down in the 80s that destroyed Hanoi Rocks never happened they very well may have taken over the world. But it did, and here we are, with Michael Monroe pumping out another solid solo record of his fast-paced hard rock with touches of glam and punk that made Hanoi Rocks so special. The tracks on Outerstellar are enjoyable, but not all necessarily memorable.
The record sounds good, if maybe leaning towards a bit over produced, like a lot of the older rockers seem to be drawn to these days. His band is solid, with some guys he has played with for decades to the point you can hear how tight they are. The songs are good, but there are twelve tracks, which is a couple too many, but there are some keepers.
My favourite is the ripper Precious, with Monroe doing his snottiest rock star thing that he does so well. This has Hanoi all over it, with the big chorus and glam but punk vibe. Dig the harmonica too. Black Cadillac is a fun song with some nice guitar work and Monroe’s voice sounding great. Others I dig include the up tempo opener, Rockin’ Horse, and the what could have been ballad Glitter & Dust.
If you dig Monroe’s solo work you will dig this. I would not start here, but Outerstellar is a solid effort. When he leans into his roots, he really still has it. But, please, after listening to this, go listen to anything by Hanoi Rocks you can get your hands on. 7/10
I have said it before and I will say it again, Ripple Music, the best label in heavy underground rock, is doing us all a solid by re-releasing/repressing amazing, out of print records for us all to enjoy.
One of the catalogues that Todd has picked up is from Australian stoner rockers Rollerball, an underappreciated band except by those who know. Let’s hope more and more people join that club, given Ripple gave us all the gift of their 1999 classic Lost In Space as Chapter 5 of the amazing Beneath The Desert Floor series. Now, with Chapter 9, more Rollerball goodness in the form of their 2009 album, Submarine.
Submarine is the band’s last album, and you can hear a maturity of the group from their debut EP Lost In Space that I mentioned above. Also, it’s amazing. The song Seasoar is so great. It is the perfect interception of classic rock and stoner rock, at times sounding like a stoner Doobies or Allmans. Just killer stuff.
The violins on Your Lullaby are so great, bringing such an American Southern Rock vibe to all the other Rollerball goodness. This album is an end to end banger, like all the Rollerball stuff, but Run Aground into Tame Existence is probably my favourite part of the record, because it rips, should be a prototype for bands who want to play killer, memorable, stoner rock, and does QOTSA better than QOTSA. Amazing stuff.
I once again bow to the master of heavy rock, Todd Severin, for bringing us this lost classic on wax for the first time in a long time. Check out Submarine, all things Rollerball, and the other eight chapters of the amazing Beneath The Desert Floor series. 9/10
Avalanche – Armed to the Teeth (MGM) [Matt Bladen]
If you were one of the many that will be heading to Aussie rockers Airbourne on their up coming UK dates, then if you want a bit more rock n rolling, get in early to catch fellow Aussies Avalanche.
Formed by husband and wife duo Steven Campbell on vocals/bass, and Veronica ‘V’ Campbell on lead guitar. Joining Steven in the rocking rhythm section of these powerful pub rockers, are Bon Lowe on drums and rhythm guitarist Blake Poulton, So what do they sound like? Well AC/DC on Armed To The Teeth and Down For The Count, Rose Tattoo on Going For Broke and tourmates Airbourne too. I’d also throw out some names in the UK rock revivals of the 2000-2010’s with Tokyo Dragons, Black Spiders and others on The Hand That Feeds and On The Bags Again.
It’s shameless, it’s saucy and skilled, taking a lot of talent to sound this easy. With the full force drive of Campbell, Poulton and Lowe carrying tracks such as Ride Or Die, Steven can also deliver that sneering vocals while his wife channels Angus with leads and solos that will get you salivating. Armed To The Teeth is their debut record and it gives them a 12 song arena ready resume, a belly full of beer and blues, sweat drenched riff slinging and solos ready for your air guitar.
Recorded 90% live, with all the fire of a band ready to do battle with Airbourne every night, their amps are turned up to eleven, Avalanche are Armed To The Teeth on their debut album. Play at full volume for maximum effect. 8/10
Hungarian drummer and producer Oliver Zisko returns with his most ambitious and heaviest solo effort to date. Titled PLAN(e)T-based, the upcoming album is set for vinyl and digital release on June 1, 2026, blending crushing modern metal textures with sophisticated fusion-prog craftsmanship. After tracking drums for countless metal albums in recent years, Zisko channels that […]
Chilean death black metal entity Blasart unveil “Supplicia Absolutum Numinis Iram,” the first revealed track from its forthcoming full-length album, Depravatus Christianis Sacris, set for release on March 28, 2026 via Lavadome Productions. The full album, Depravatus Christianis Sacris, consists of nine tracks of sacred inversion and sonic aggression. It took 18 years for Blasart to release […]
“Domination” Tour 2026 – Europe Part II w/ RONNIE ROMERO Presented by Metal Hammer, musix, Rock Antenne, Rock It!, Break Out & ITM:
11.03.2026 UK London – O2 Academy Islington 12.03.2026 UK Wolverhampton – KK’s Steel Mill 14.03.2026 DE Marsberg – Metal Diver Festival * 15.03.2026 DE Lindau – Club Vaudeville 16.03.2026 DE Augsburg – Spectrum Club 17.03.2026 IT Paderno Dugnano (MI) – Slaughter Club 20.03.2026 NO Trondheim – Byscenen 21.03.2026 NO Gjerdrum – Kulturhus 22.03.2026 SE Stockholm – Kollektivet Livet 24.03.2026 FI Helsinki – Tavastia-klubi 25.03.2026 FI Tampere – Olympia-kortteli 27.03.2026 EE Tallinn – Helitehas 28.03.2026 LV Riga – Palladium 29.03.2026 LT Vilnius – Loftas * PRIMAL FEAR only
“Domination” Tour 2026 – South America:
16.04.2026 AR Buenos Aires – Teatro Flores 24.04.2026 BR São Paulo – Bangers Open Air Pre-Party 26.04.2026 BR São Paulo – Bangers Open Air
Festivals:
20.06.2026 BE Dessel – Graspop Metal Meeting 04.07.2026 ES Barcelona – Rock Fest 18.07.2026 CZ Vizovice – Masters of Rock 25.07.2026 DE Rengsdorf – Rock the Forest 21. – 23.08.2026 PT Pindelo dos Milagres – Milagre Metaleiro Open Air 27. – 29.08.2026 ES Fuengirola – Sun & Thunder 12.09.2026 DE Sinntal – Sinner Rock
26.09.2026 CH Olten – Schützi 02.10.2026 AT Telfs – Rathaussaal 03.10.2026 DE Geiselwind – Monster Festival 04.10.2026 FR Paris – Petit Bain 06.10.2026 FR Toulouse – Le Rex 07.10.2026 ES Burgos – Sala Andén 56 08.10.2026 ES Madrid – Wagon 10.10.2026 ES Pamplona – Sala Totem Aretoa 11.10.2026 ES Valencia – Roig Arena
Qi Ming’s she is gentle she is dear to me unfolds like a quiet devotion whispered into open air. There is a softness at its core, but it never feels fragile. Instead, it carries a grounded tenderness shaped by her cross cultural sensibility and refined electronic touch. Organic textures drift alongside subtle electronic pulses, creating a space that feels both intimate and expansive.
The vocal presence moves with emotional clarity, floating gently through the arrangement without overpowering it. The track feels less like a conventional pop single and more like a shared breath suspended in time. Reflective, patient, and quietly luminous, it invites the listener into a space where care, connection, and vulnerability are held with intention.
Kansas/South Carolina-based slamming brutal death metal quartet Parasitic Gestation premiere a new single titled "Meathook Gastrectomy", streaming via YouTube and Spotify for you now below.
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San Antonio, Texas-based deathcore five-piece Get Me The Knife premiere a new single and music video titled "Serrated Liberation", streaming via YouTube and Spotify for you now below.
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Saynt Ego steps into the light with Voices, a standout cut from the forthcoming record Liminal Space, and it feels like the sound of someone finally claiming their own narrative. The cinematic electronic project of producer and filmmaker Will Retherford, Saynt Ego carries the weight of years spent behind the scenes in film, podcast, and sound design into something deeply personal and emotionally resonant.
Voices unfolds with atmospheric textures and intimate, melancholic tones that feel suspended between stillness and movement. There is a strong sense of space in the production, every detail carefully placed, reflecting Retherford’s background in storytelling and sonic architecture. The track does not chase obvious climaxes. Instead, it builds mood and tension gradually, inviting the listener inward.
