Into the Maelstrom

Fighter Records have become a pretty safe bet when it comes to traditional metal, and Italian warriors Hyperion are no exemption to this rule. Having been formed in 2015 they introduced themselves in 2017 via their debut “Dangerous Days”, and now they are back with a bang. Nothing trendy or shiny, but straight into-your-face and rocking heavy metal is what is on offer here, so in case you are on the search for something modern or unorthodox you need to look elsewhere.

To take away the final verdict the same trademark elements as on “Dangerous Days” can be found here, but “Into the Maelstrom” feels just a bit more polished and maybe even more on point. The riffs are uplifting and perfectly harmonized with the uplifting lead melodies. The lads take chords heavily influenced by traditional US Metal and NWOBHM to build a solid and heavy rocking backbone of the music. A lot of the main riffs will sound familiar to fans of bands like Iron Maiden or Jag Panzer, but on top of that some typical European harmonies are responsible for an extra portion of catchiness.

The song-writing is clever and on point. Such kind of music asks for straight forward song structures and harmonies that are easy to follow and enjoy, and Hyperion totally deliver on that front. In between all the frenetic riff attacks there are great hooks and some of the chorus parts are very memorable. Overall “Into the Maelstrom” is an album that you can enjoy while driving around in the car of doing your workout. Go and check out the title track as example to see what I am on about. I am not saying that the album is overly simplistic, consisting of the same track over and over again, but you won’t find too technical parts hindering the fantastic flow of the record.

While not over-present there is of course some soloing action, with the guitarists Davide and Luca showing bits of their talent. Most of the time the placing of those parts is perfectly timed, connecting various pieces of one song while working as a tool to bring in some variation. The rhythm section follows close behind in terms of quality, making sure that each tempo change is smoothly embedded into the flow of the respective track.

The success of bands like Hyperion often stands and falls with the talent of the lead singer, and luckily enough Michelangelo is delivering. His soaring voice is greatly attuned with the instrumentation. Most of the time he is staying in the mid-range area, but if needed he can switch to higher pitched screams with ease. His voice might not have the same absolutely outstanding and unique character like some of the genre’s star singers, but this is anyway not necessary. Great performance and I expect him to get even better with the next releases.

The production is also fine, clear and organic and not too modern. I personally could have done with just a bit more crunchiness, but I am sure that most fans of this sub-genre will love this very true approach. The single instruments have enough room to breathe, and also Michelangelo’s vocal lines are not buried in the mix. The cover artwork has its own charm, so I highly recommend to grab a physical version as long as it is available. This is a very honest and energetic effort by a talented band on the rise.