In a year that has already seen top-notch releases from thrash veterans like Nervosa (“Jailbreak“), and Holy Moses (“The Invisible Queen“), it is somewhat extraordinary that fans of thrash metal should be treated once again to another high-calibre entry in the sub-genre with Hyperia’s “The Serpent’s Cycle“. Despite the stiff competition, the third album by this melodic thrash metal band from Vancouver, Canada, not only holds its own in this three-way head-to-head battle, it carries the added honour of also pushing the most boundaries.
As many fans will know, one of the biggest criticisms that is often levelled at this particular style of heavy metal is its tendency to come off as too samey or monotonal. And to the proponents of these arguments, I simply say listen to “The Serpent’s Cycle“. For this album acts as an exemplary rebuttal to any such talking points. Building on all the same key elements as their past albums, “Insanitorium” (2020) and “Silhouettes of Horror” (2022), yet miraculously amplifying and refining them to perfection – this is easily their best effort to date. But more than that, it’s a masterclass on how to reinvigorate the thrash scene while still remaining accessible to old-school purists.
One of the most obvious ways that Hyperia break from convention and distinguish themselves from their peers is through their diverse utilisation of vocal styles – made possible thanks to the band’s highly capable and versatile frontwoman: Marlee Ryley. Her smorgasbord of abilities includes howling screams and impressive roars/growls to the opposite end of the spectrum with the superlative phonics of her raucous, more punk-oriented clean singing. But Hyperia don’t just switch things up in the vocal department. While the classic 80’s thrash sound is very much alive and kicking throughout all of “The Serpent’s Cycle“, the band also experiments with bringing elements of death metal, progressive metal, and other modern styles into the primordial mix. And all of this is notwithstanding the fact that this album has possibly some of the fastest, most aggressive, and not to mention most technical songs than anything we’ve previously heard from the band – instantly making this a truly landmark achievement in their career.
Whether it’s through instances like the unprecedented heaviness displayed on “Eye for an Eye“, or the complex structure and chord progression of “Psychosomatic” (complete with an intricate neo-classical passage), the outfit’s growth is consistently apparent throughout the album. Fans needn’t worry about the band becoming too serious either, as they find plenty of time for a bit of levity with party numbers “Automatic Thrash Machine” and “Binge & Surge“. But amongst all the riotous fun, Hyperia still offer up some serious social commentary to its listeners, as seen on “Prophet of Deceit” which addresses the dangerous impact of gaslighting.
The smell of gas in the air
Hyperia – Prophet of Deceit
Not even playing fair
Want me to pick a side?
There won’t be any compromise!
Ryley deserves special commendation for the quickness of her vocal delivery on “Spirit Bandit“. And while speaking of speedy contributions, be sure to check out the super-fast double kicks by Ryan Idris (touring drummer for Heathen) on album opener “Ego Trip“. While “Trapped in Time” and title-track “The Serpent’s Cycle” satisfy the more typical criteria, with a one-two punch of traditional fast and heavy 80’s-styled thrash metal. “Deathbringer“, on the other hand, draws heavy inspiration from black metal, and concentrates on the Hindu goddess of death and destruction (Maha Kali). However, the most unusual song is saved for last as Hyperia treat us to their unique rendition of Heart’s “Crazy on You”. Proving yet again that the album has a bit of everything, while still managing to not lose sight of its core audience. It’s a delicate balancing act, but Hyperia pull it off with both ease and aplomb.
Verdict: With “The Serpent’s Cycle”, Hyperia have almost reached the ultimate zenith of thrash metal mastery. They have succeeded in delivering a ferociously wicked metallic soundscape, that frequently pushes the needle into the red zone (and beyond), but also dares to experiment with the tried-and-tested formula – all while warranting the band and its listeners a license to party and have fun. A truly incomparable achievement!