Hyper’s prolific release schedule ramps up once again! After what felt like an age for the release of the critically acclaimed and award nominated ‘Lies’ (which featured 2 Beatport Number 1’s) , he followed up quickly with the ground-breaking and beautiful ‘Symphony Of Lies’ which saw 8 of the original album tracks broken down and reinterpreted with strings and sound design as a total juxtaposition to the standard dance floor remix package. The recent collaborative EP with Deadly Avenger (‘We Kill Giants’) saw plenty of blog love after its release on the Southern Fried subsidiary and will feature in the season 4 premier of Netflix’s ultra-cool ‘Orange Is The New Black’. He also contributed writing to the last Visage album and threw his hat back into the remixing ring with remixes for Ninja Tunes’ Kelis (which was the theme for this year’s 6 Nations coverage on the BBC), Davip for Ayra and Wall Of Sounds Killaflaw..
Back to the here and now and the genre rulebook has once again been tossed out of the window for studio album 5 and ‘Bully’ has landed. The title track touches down with relentless attitude. Cello riffs are twisted and distorted to form relentless grooves while New York rapper SHIRT spits over the top with aplomb and the slow groove gives way to fearsome old skool breaks. If ‘Sabotage’ had been written by the Beasties with a hangover..
From there the album ducks and dives between tempos and flavours. ‘The Fallen’ (featuring Neil Ormandy fresh from his work with Eric Prydz) and ‘Resurrection’ see a return to the 130 bpm Broken Beats (to which Hyper cut his dance floor teeth) while ‘Ghosts’ and ‘Scream For Me’ drop the tempo with different approaches. ‘Ghosts’ leans towards the ethereal beauty of the piano and the stunning voice of Robert Shields building with an uplifting guitar that crescendos into a heavy slow relentless break complemented by brass flares. ‘Scream..’, (possibly the heaviest sounding track on the album) opts for the tension of sound design, trademark live bass and super distorted counterpoint 808 pattern with a large side of analogue synths. Scary stuff!
Add to the mix a nod to the days of Rave and Big Beat in ‘Sirens’ and the all-out Drum n Bass assault (Hyper style) of ‘The Battle’ and you have, by far, Hyper’s most formidable album ever. Demonstrating a diverse, yet cohesive sound, this body of work proves him still to be one of electronic music’s most underrated producers by far.