Hyperion

Gesaffelstein’s Hyperion is a bit of a mixed bag. As one of the most respected names in the electronic music scene, he has built a reputation for dark, industrial, and experimental sounds. While Hyperion still carries some of those elements, it also ventures into more commercial territory, leading to an inconsistent experience.

The album kicks off strong with Hyperion, an atmospheric and cinematic intro that sets the tone. Reset brings back the aggressive, menacing energy that fans of Aleph would appreciate, while Lost in the Fire featuring The Weeknd is easily the most accessible and mainstream track, blending Gesaffelstein’s signature style with pop appeal. Blast Off, with Pharrell Williams, is another standout, offering a groovy, robotic sound that works surprisingly well.

However, the second half of the album struggles to maintain momentum. The energy dips, and some tracks feel more like filler than fully realised ideas. While there are glimpses of his signature dark, industrial style, they don’t hit as hard as they could. The shift towards more ambient, synth-driven cuts feels a bit underwhelming compared to the highs of the first half.

Overall, Hyperion has its moments of brilliance, but it doesn’t fully capitalise on Gesaffelstein’s strengths. It’s an album that feels caught between his experimental roots and a more commercial sound, leaving it feeling somewhat uneven.