Hyperion are a band I’ve had zero awareness of prior to the release of their third and latest album, Cybergenesis. That being said, I’m always open to new heavy suggestions, and considering this here release comes courtesy of the mostly consistent Fighter Records, the traditional metal faction of Xtreem Music, I figured, “Sure, why not?” Per the ever-reliable (I’m only half serious) Metal Archives, Hyperion have been cranking out their own brand of euro steel for a little over a decade now, having formed in 2015. This latest affair is their first with new frontman Max Morelli, who sounds more than at home with his fellow gang of Italian gladiators.
For the uninitiated, Hyperion play a high-speed, sci-fi centric brand of old school euro power metal, reminiscent of acts like Scanner, Rage, and of course, Helloween. Notice that I use the “old school” descriptor to describe their sound. There is no overblown production, Wacken-tailored choruses, symphonic forays, or any other textbook cliches one would expect of a euro power metal affair of the past 30 years. No, Hyperion keep things simple, straightforward, and speedy, which is a large reason why Cybergenesis is a success of an album.
For the most part, Cybergenesis keeps it pedal to the metal, pushing our necks to their limit and leaving us hanging on for dear life. Powerful speedsters like the opening “Deafening”, valorous “Yet We Still Fight”, and galloping “Blood Over Chrome” channel the retro blitz of the aforementioned Scanner at their most frenetic, as well as USPM legends Riot in their Thundersteel era. Through it all, guitarists Davide Cotti and Francis Di Pasquale remain locked in, while frontman Morelli delivers a vocal performance that’s ultra-melodic and undeniably invigorating, without ever reaching Sean Peck levels of absurdity. In other words, don’t expect unnecessary shrieks or choirs on this album.
When Hyperion tone it down (as most old school power metal bands do from song to song) and dial back to standard traditional metal mode, they do so elegantly, with a most subtle nod to the legends of yesteryear. “The Shackles of Chronitus” has Dio written all over it, thanks to its exotic guitar lines and gruff vocal passages. It’s not as explicitly power metal as the rest of this album, but it sure fits the mold and spirit the band conveys. Furthermore, the closing “The Whole of Time” serves as the obligatory battle hymn, channeling the US heroism of Manilla Road and Manowar. Sci-fi themes aside, one can certainly tread a battlefield of this earth with sword in hand to this march.
Considering I began this decade and webzine with a threshold for euro power metal lower than Yngwie Malmsteen’s tolerance of donuts, I can’t help but partially be amazed at myself. Here I am, in 2026, thoroughly impressed by a euro power metal band who I’ve had no previous awareness of. For future reference, if you’re a band of this nature sending a review inquiry my way, the key to my heart is by sounding more like the ’80s and less like the subsequent decades that followed. Then again, that goes for EVERY metal subgenre!
8 out of 10
Label: Fighter Records
Genre: Power Metal
For fans of: Scanner, Helloween, Riot