Artist: Hyper
Album: The Panic
Release: 4th April
Label: Distinctive Records
Hyper, a.k.a. Guy Hatfield, first made his name back in the early 2000s with his Y3K mixes, a wide-ranging compilation of breakbeats with electro, drum and bass and house flavours thrown in for good measure. He has since performed across the world and released two genre-bending artist albums, We Control and Suicide Tuesday, the latter with significant contributions from ex-Prodigy man Leeroy Thornhill. It's pretty clear from his past, then, that Hyper doesn't like to restrict himself to one discipline of electronic music, and his new, third album The Panic upholds that principle, combining disparate elements from across his fields of interest into a richly varied collection of songs.
Album opener, ironically entitled The End, serves to establish the album's dominant character. It drifts into life with a swirl of atmospheric sounds, drums rolling and clean guitar chords shimmering. A robotic voice tells us to "rise above" before bellowing the war-cry "this is the end," heralding the arrival of thickly distorted rock guitars and a four-to-the-floor beat. The guitars step aside to let buzz-saw synths take their place and the track settles into a pounding electro groove that recalls the early productions of South Central. Halfway in everything dissolves, leaving only the initial moody brew of quietly pulsing synth, strummed guitar and a hushed robotic voice; a tentative combination that shatters like glass as the distorted guitar and beat drop back in, followed shortly by the buzz-saws. The song sounds huge, and resists easy categorisation, and it is these two factors that prove to be the thread that runs through The Panic.
Album opener, ironically entitled The End, serves to establish the album's dominant character. It drifts into life with a swirl of atmospheric sounds, drums rolling and clean guitar chords shimmering. A robotic voice tells us to "rise above" before bellowing the war-cry "this is the end," heralding the arrival of thickly distorted rock guitars and a four-to-the-floor beat. The guitars step aside to let buzz-saw synths take their place and the track settles into a pounding electro groove that recalls the early productions of South Central. Halfway in everything dissolves, leaving only the initial moody brew of quietly pulsing synth, strummed guitar and a hushed robotic voice; a tentative combination that shatters like glass as the distorted guitar and beat drop back in, followed shortly by the buzz-saws. The song sounds huge, and resists easy categorisation, and it is these two factors that prove to be the thread that runs through The Panic.
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