Hyperion - Elysia

Hyperion is a black metal band from Sweden that formed in 2007; their latest album, “Elysia,” is their second full-length album; they have also released a demo.  Apparently, this is their first album since their debut in 2016—and that one escaped my radar, so this is my first experience with them.

It’s an impressive experience too.  “Elysia,” is an album that uses a chaotic form of black metal as the building blocks of its sound but it’s also symphonic, element, and grandiose in scope and execution.  In addition to all that, I can hear some melodic death metal influences as well. That’s a lot of dynamics for a band to tackle—-that’s okay because Hyperion is a lot of album. With 10 tracks across a sprawling 74 minute runtime, this beast has more than enough time to let its songwriting skills loose on all the sounds contained within.  Personally, I think it could stand to lose a few minutes here and there but, regardless, it’s a hell of a ride that effectively tackles all it sets out to do.

Production and mix is solid, for the most part.  The volume is kept even across the board and the low end shines through well despite the many layers to the songs  but the overall atmosphere is slightly muffled—when it comes to bands that are keyboard heavy, I always think a more clear production works best. Still, I also appreciate that it sounds less clean and plastic than a lot of symphonic/melodic bands so I’m honestly torn about it.  Then again, the songs are so good that I suppose it doesn’t really matter and I’m just bitching to bitch. 

The biggest issue with heavy orchestrated/key bands is that so many times the atmosphere takes over the metal and the riffs lose focus.  “Elysia” does not have that problem, thankfully.  It’s as riff and rhythm based as it is key/symphonic based.   Each instrument has a purpose and every element exists in the song right where it should. 

Musically, this is some really urgent and energetic type of extremity.  From the drums, to the riffs, to the vocals….this album is searing 100% of the time.  But that’s just one side of its metal coin; on the other side exists soundscapes of epic layers.  When you flip a coin, its two sides blend in and that is exactly what happens here.  It’s huge but it is also fluid without being pretentious or overstuffed.

The first two songs, “Rapturous Overture,” and “Nefarious Sacrament of the Immorals,” give a pretty good idea of what to expect on the rest of the journey.  The former is an imaginative intro that does an excellent job of ramping up the anticipation.  The latter is full of fire and brimstone—it’s beginning is immediate and might cause whiplash.  I like how the vocals are definitely on the raw side of the genre (although not overly) because it really keeps the song vicious even at its most melodic.  

That’s really the key here, too.  If you like melody and epicness to your metal, then this album will give that to you.  But if you prefer more violent, jarring experiences then you’ll get that.  There is a wide range of appeal here, not just to the album as a whole, but to each individual song.

The centerpiece of the album has to be “Paraphrosynia.”  This song includes everything that makes this album so engaging to begin with it.  The opening is magical—balanced riffs that walk the line between melody and aggression before it goes into full blackened mode.  The vocals are maddening, giving quite the performance that always ensures the song remains venomous.  I love how the lead guitar just runs with its ideas—-but still makes sense within the context of the song.  The last two minutes are sweeping—blackened fury crashing head on with soaring melodies before ending in clean instrumentation.  

The other long song, “Epic of Tribulation,” is just as good.  This one begins more somber, almost delicate to a certain degree.  Its build up is clever, different elements drop by the second to lead into a gauntlet of drums and lead guitar that cuts through it all.  After the three-minute mark, the bass slaps the hell out of everything, crashing against clean keys and screams.  Another passage.  At the 8:25 mark, a final blackened scream rips out of hell itself as the guitars and keys both hammer it out until the end.  A very beautiful moment! 

The final song, "The Primordial Wellspring," offers more emotional turmoil with the melodic bass and clean guitars that open the song. The lead guitar almost made me cry—who says metal, even black, can’t be moving?  The clean vocals are a nice surprise and make the extreme ones all the more potent once they appear.  I really like the drums and playfully ethereal keys in the mid-section too.   After another well written clean section, the drums tear the walls down and push the song through a passage that can be described as both harrowing and exciting.

Hyperion’s “Elysia,” is an amazing late year surprise and it is going to make a lot of reviewers and fans have to redo their best of lists, of this I have no doubt!  This album manages to take the archaic form of black metal and successfully meld it with sonic beauty for a memorable take on symphonic/melodic black metal that won’t soon be forgotten. 

Rating:  Excellent