#blazebayley — Public Fediverse posts

Blaze Bayley: “La leyenda de Iron Maiden pertenece a Paul Di’Anno” | vía #NaciónRock

https://www.nacionrock.com/blaze-bayley-la-leyenda-de-iron-maiden-pertenece-a-paul-dianno/

#blazebayley

https://www.europesays.com/it/626415/ Iron Maiden: Blaze Bayley: “La vera leggenda della band è Paul Di’Anno” #BlazeBayley #Entertainment #Intrattenimento #IronMaiden #IT #Italia #Italy #Music #Musica #PaulDi'Anno #StillHot

Blaze Bayley anuncia concierto en Chile para celebrar los 30 años de «The X Factor» de Iron Maiden | vía #FuturoCL

https://www.futuro.cl/2026/07/blaze-bayley-anuncia-concierto-en-chile-para-celebrar-los-30-anos-de-the-x-factor-de-iron-maiden/

#blazebayley #conciertosenchile #ironmaiden

https://www.europesays.com/fi/309782/ Kaaos Festival kävijäennätykseen – Ensimmäiset esiintyjät vuodelle 2027 julki #BlazeBayley #Entertainment #FI #FimbulWinter #Finland #Finnish #KaaosFestival #ScarSymmetry #Suomi #TarjaTurunen #TheUnguided #viihde

https://www.europesays.com/es/676646/ Blaze Bayley, histórico exvocalista de Iron Maiden, anuncia su regreso a Chile para enero de 2027 #BLAZEBAYLEY #cantante #Entertainment #Entretenimiento #ES #España #exvocalista #HeavyMetal #IronMaiden #Music #Música #Spain

https://www.europesays.com/at/275794/ Blaze Bayley will Iron Maiden in der Hall Of Fame repräsentieren #"Auszeichnung" #AT #Austria #BlazeBayley #BruceDickinson #DennisStratton #Ehrung #Entertainment #IronMaiden #Music #Musik #NickoMcBrain #Österreich #RockAndRollHallOfFame #Unterhaltung #Vertretung

https://www.europesays.com/es/654739/ Steve Harris (Iron Maiden) vio el concierto entero de Blaze Bayley en el Eddfest (vídeo) – MariskalRock.com #BLAZEBAYLEY #eddfest #Entertainment #Entretenimiento #ES #España #IronMaiden #MR2022 #Music #Música #Spain #SteveHarris

https://www.europesays.com/at/262088/ Nicko McBrain hat „gemischte Gefühle“ wegen Hall Of Fame #AdrianSmith #Anerkennung #AT #Austria #BlazeBayley #BruceDickinson #CliveBurr #DaveMurray #Entertainment #Gefühle #IronMaiden #JanickGers #Music #Musik #NickoMcBrain #Österreich #PaulDi’Anno #Rock&RollHallOfFame #SteveHarris #Unterhaltung

https://www.europesays.com/es/632326/ Blaze Bayley, sobre la incorporación de Iron Maiden al Rock and Roll Hall of Fame: «Estoy organizándome para ir” #AdrianSmith #BLAZEBAYLEY #BruceDickinson #CliveBurr #DaveMurray #DennisStratton #Entertainment #Entretenimiento #ES #España #IronMaiden #JanickGers #MR2022 #Music #Música #NickoMcBrain #PaulDi’Anno #RockAndRollHallOfFame #Spain #SteveHarris

https://www.europesays.com/es/624342/ Tim "Ripper" Owens: "Hay una razón por la que Iron Maiden toca frente a 20.000 personas y Judas Priest a 5.000" – MariskalRock.com #BLAZEBAYLEY #BruceDickinson #Celebrities #Entertainment #Entretenimiento #ES #España #Famosos #IronMaiden #JudasPriest #MR2022 #RobHalford #Spain #SteveHarris #TimRipperOwens

https://www.europesays.com/at/235783/ Iron Maiden — top, Judas Priest — Flop, findet Tim „Ripper“ Owens #AT #Austria #BlazeBayley #BruceDickinson #Demolition #Entertainment #IronMaiden #JudasPriest #Jugulator #Music #Musik #Österreich #RobHalford #TimRipperOwens #Unterhaltung

 Horarios Zlive 2026 que activa Metal Town en Zamora con el 90% del aforo liquidado
Info en 👉  https://www.guitarcalavera.com/horarios-zlive-2026/
#BlazeBayley #BuryTomorrow #Emperor #Epica #H.E.A.T. #Opeth #S.A. #Saxon #Tesseract #ZLiveRockFest #guitarcalavera #guitarcalaveramagazine
https://www.guitarcalavera.com/horarios-zlive-2026/?utm_medium=Guitar%20Calavera%20&fsp_sid=3645&utm_source=Mastodon%20&utm_campaign=horarios-zlive-2026%20

O ex-membro do Iron Maiden que critica o documentário ‘Burning Ambition’

https://fed.brid.gy/r/https://rollingstone.com.br/musica/o-ex-membro-do-iron-maiden-que-critica-o-documentario-burning-ambition/

https://www.europesays.com/at/171366/ Dennis Stratton (Ex-Iron Maiden) will zur Hall Of Fame-Zeremonie #AT #Aufnahmezeremonie #Austria #BlazeBayley #DennisStratton #Entertainment #IronMaiden #Music #Musik #Nominierung #Österreich #Rock&RollHallOfFame #Unterhaltung

https://www.europesays.com/es/560584/ Dennis Stratton (ex-Iron Maiden) dice que sintió pena por Blaze Bayley al ver el documental «Burning Ambition»: «Fue como si hubieran ido cuesta abajo desde que se unió a la banda” #BLAZEBAYLEY #BurningAmbition #DennisStratton #Entertainment #Entretenimiento #ES #España #IronMaiden #MR2022 #Music #Música #Spain

https://www.europesays.com/es/539631/ Nicko McBrain está convencido de que el regreso de Bruce Dickinson a Iron Maiden tras la era de Blaze Bayley fue «el plan de Dios»: «Nadie más podría haberlo planeado” #BLAZEBAYLEY #BruceDickinson #Entertainment #Entretenimiento #ES #España #IronMaiden #MR2022 #Music #Música #NickoMcBrain #Spain

https://www.europesays.com/es/537035/ Iron Maiden acude a la première de su película “Burning Ambition” sin Steve Harris pero con Blaze Bayley y Eddie hacha en mano #BLAZEBAYLEY #BurningAmbition #eddie #Entertainment #Entretenimiento #ES #España #IronMaiden #MR2022 #Music #Música #Spain

https://www.europesays.com/at/143817/ Iron Maiden: Dickinsons Rückkehr war Gottes Plan, findet McBrain #AT #Austria #BlazeBayley #BruceDickinson #Entertainment #IronMaiden #Music #Musik #NickoMcBrain #Österreich #Plan #Rückkehr #Unterhaltung

Iron Maiden Guitarist Adrian Smith Talks New Doc, ‘Burning Ambition,’ And Band’s 50th Anniversary

Adrian Smith and Steve Harris of Iron Maiden perform at London Stadium on June 28, 2025 (Photo by…
#NewsBeep #News #Music #adriansmithironmaiden #blazebayley #BruceDickinson #Entertainment #IronMaiden #ironmaiden2026 #ironmaidendoc #ironmaidendocumentary #ironmaideninterview #IronMaiden:BurningAmbition #runforyourlivestour #UK #UnitedKingdom
https://www.newsbeep.com/uk/554565/

Iron Maiden Guitarist Adrian Smith Talks New Doc, ‘Burning Ambition,’ And Band’s 50th Anniversary

Adrian Smith and Steve Harris of Iron Maiden perform at London Stadium on June 28, 2025 (Photo by…
#NewsBeep #News #Music #adriansmithironmaiden #AU #Australia #blazebayley #BruceDickinson #Entertainment #IronMaiden #ironmaiden2026 #ironmaidendoc #ironmaidendocumentary #ironmaideninterview #IronMaiden:BurningAmbition #runforyourlivestour
https://www.newsbeep.com/au/635732/

Iron Maiden Guitarist Adrian Smith Talks New Doc, ‘Burning Ambition,’ And Band’s 50th Anniversary

Adrian Smith and Steve Harris of Iron Maiden perform at London Stadium on June 28, 2025 (Photo by…
#NewsBeep #News #Music #adriansmithironmaiden #AU #Australia #blazebayley #BruceDickinson #Entertainment #IronMaiden #ironmaiden2026 #ironmaidendoc #ironmaidendocumentary #ironmaideninterview #IronMaiden:BurningAmbition #runforyourlivestour
https://www.newsbeep.com/au/635732/

O álbum do Iron Maiden que fez Blaze Bayley chorar sem parar

https://fed.brid.gy/r/https://rollingstone.com.br/musica/blaze-bayley-album-iron-maiden-chorar-sem-parar/

New post: Blaze Bayley and Gypsy’s Kiss join the bill for Iron Maiden’s massive Eddfest weekend https://moshville.co.uk/news/tours/2026/03/blaze-bayley-and-gypsys-kiss-join-the-bill-for-iron-maidens-massive-eddfest-weekend/ #BlazeBayley #Gypsy’sKiss #IronMaiden

New post: Blaze Bayley and Gypsy’s Kiss join the bill for Iron Maiden’s massive Eddfest weekend https://moshville.co.uk/news/tours/2026/03/blaze-bayley-and-gypsys-kiss-join-the-bill-for-iron-maidens-massive-eddfest-weekend/ #BlazeBayley #Gypsy’sKiss #IronMaiden

🔥 Blaze Bayley en el Z! Live 2026: Justicia histórica para los años oscuros de la Doncella

Toda la info en 👉 https://www.guitarcalavera.com/blaze-bayley-en-el-z-live-2026/

#BlazeBayley #IronMaiden #ZLiveRockFest #guitarcalavera #guitarcalaveramagazine
https://www.guitarcalavera.com/blaze-bayley-en-el-z-live-2026/?utm_medium=Guitar%20Calavera%20&fsp_sid=2836&utm_source=Mastodon%20&utm_campaign=blaze-bayley-en-el-z-live-2026%20

Bruce Dickinson's opinion on Blaze Bayley

https://rockandrollgarage.com/bruce-dickinson-opinion-on-blaze-bayley/

#brucedickinson #blazebayley #rock #ironmaiden #maiden #metal

Bruce Dickinson's opinion on Blaze Bayley

https://rockandrollgarage.com/bruce-dickinson-opinion-on-blaze-bayley/

#brucedickinson #blazebayley #rock #ironmaiden #maiden #metal

Bruce Dickinson's opinion on Blaze Bayley

https://rockandrollgarage.com/bruce-dickinson-opinion-on-blaze-bayley/

#brucedickinson #blazebayley #rock #ironmaiden #maiden #metal

Bruce Dickinson's opinion on Blaze Bayley

https://rockandrollgarage.com/bruce-dickinson-opinion-on-blaze-bayley/

#brucedickinson #blazebayley #rock #ironmaiden #maiden #metal

Formed in Bologna, Italy, HyperioN has been kicking around since 2015. When they visited these halls in 2017, Eldritch Elitist called their debut, Dangerous Days, “the strongest 3.0 possible,” citing its ability to “effortlessly [inject] elements of trash and power metal into the proceedings” and its “significant room for future growth.” HyperioN returns now in 2026 with their third full-length,1 Cybergenesis, a concept album chronicling an interdimensional war, humanity’s enslavement, and their eventual rebellion and liberation. Although still a five-piece, HyperioN sports an entirely new lineup save for founding guitarist Davide Cotti. Can this massive injection of fresh blood catapult these space-age heavy metallers to the greater heights Eldritch Elitist saw in the band?

New blood or not, HyperioN has a vision for their sound and proudly stays the course. Like previous efforts, Cybergenesis is heavily inspired by the likes of Metal Church and Judas Priest. But thematically rooted in sci-fi territory, HyperioN establishes the futuristic, dystopian backdrop of Cybergenesis’ narrative in much the same fashion that Blaze Bayley did on Silicon Messiah. A neoclassical opening gives way to a “Deafening” detonation of traditional heavy metal, soaring and gritty vocals, and Mozartian fills. HyperioN maintains this momentum with sticky choruses (“Yet We Still Fight,” “Blood over Chrome”), courtesy of new vocalist Max Morelli, and the strong axe work of Cotti and newcomer Francis Dipasquale (“Rewire, Rebuild,” “The Shackles of Chronitus,” “Rhizome Rider”). The potential Eldritch Elitist saw is brutally obvious when the band comes together to exceed their mathematical sum. Moments like the ends of “Grain of Sand”—where a squealing guitar lead cranks up the intensity of the final chorus—and “The Shackles of Chronitus”—where the solo extends to usher Morelli back to center stage—are particularly well done.

Cybergenesis by HyperioN

From a songwriting perspective, Cybergenesis is largely on par with previous efforts—aside from the baffling spoken word intro on “The Whole of Time”—but it’s not executed as well. Morelli is a fairly good vocalist, but he is much different than HyperioN’s previous vocalist and can’t reach the clean, clear highs of Dangerous Days. Rather than find ways to highlight the registers where he does excel, Morelli struggles to mimic previous efforts and seems shoved into too rigid a box. Bassist Simone Cauli employs a tone notably rougher than before. It’s got a retro sound that feels at odds with the futuristic subject matter of Cybergenesis. Where the bass was velvety on Dangerous Days, it’s much grittier or more textured here. Similar to HyperioN’s debut, drummer Francesco Madonna puts in a serviceable but largely unremarkable performance.

Structurally, Cybergenesis isn’t breaking any new ground. Most songs fall in the 4-5 minute range and follow a standard verse-chorus-verse-chorus pattern. No risks are taken here, and this is a fundamentally safe album. This isn’t a criticism per se—HyperioN’s ability to competently utilize well-established constructions is certainly impressive—but it does hold Cybergenesis back from being greater. To its credit, it’s a pretty lean record, clocking in at just under 40 minutes. The music moves along at a good pace, and there’s no real bloat to be found here. But especially in the back half, Cybergenesis can get repetitive as its lack of originality becomes more apparent, which somewhat counteracts the album’s good pacing and brisk runtime.

HyperioN boasts some great guitar work, especially in solos and hooks and such, but I struggled to find much else on Cybergenesis that stood out. I see the same opportunity for growth that Eldritch Elitist did on their debut, but this feels like a step back. It’s marred by a vocal performance that struggles to match the music and a general lack of novel material. Nonetheless, Cybergenesis is solid meat-and-potatoes fare. It’s good background music and playlist filler, but it’s nothing to write home about. You won’t find any new metal converts worshipping at the altar of Cybergenesis, but for those who dig trad/heavy metal muchly, HyperioN’s newest offering should be plenty filling.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Fighter Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: Jan 15th, 2026

Formed in Bologna, Italy, HyperioN has been kicking around since 2015. When they visited these halls in 2017, Eldritch Elitist called their debut, Dangerous Days, “the strongest 3.0 possible,” citing its ability to “effortlessly [inject] elements of trash and power metal into the proceedings” and its “significant room for future growth.” HyperioN returns now in 2026 with their third full-length,1 Cybergenesis, a concept album chronicling an interdimensional war, humanity’s enslavement, and their eventual rebellion and liberation. Although still a five-piece, HyperioN sports an entirely new lineup save for founding guitarist Davide Cotti. Can this massive injection of fresh blood catapult these space-age heavy metallers to the greater heights Eldritch Elitist saw in the band?

New blood or not, HyperioN has a vision for their sound and proudly stays the course. Like previous efforts, Cybergenesis is heavily inspired by the likes of Metal Church and Judas Priest. But thematically rooted in sci-fi territory, HyperioN establishes the futuristic, dystopian backdrop of Cybergenesis’ narrative in much the same fashion that Blaze Bayley did on Silicon Messiah. A neoclassical opening gives way to a “Deafening” detonation of traditional heavy metal, soaring and gritty vocals, and Mozartian fills. HyperioN maintains this momentum with sticky choruses (“Yet We Still Fight,” “Blood over Chrome”), courtesy of new vocalist Max Morelli, and the strong axe work of Cotti and newcomer Francis Dipasquale (“Rewire, Rebuild,” “The Shackles of Chronitus,” “Rhizome Rider”). The potential Eldritch Elitist saw is brutally obvious when the band comes together to exceed their mathematical sum. Moments like the ends of “Grain of Sand”—where a squealing guitar lead cranks up the intensity of the final chorus—and “The Shackles of Chronitus”—where the solo extends to usher Morelli back to center stage—are particularly well done.

Cybergenesis by HyperioN

From a songwriting perspective, Cybergenesis is largely on par with previous efforts—aside from the baffling spoken word intro on “The Whole of Time”—but it’s not executed as well. Morelli is a fairly good vocalist, but he is much different than HyperioN’s previous vocalist and can’t reach the clean, clear highs of Dangerous Days. Rather than find ways to highlight the registers where he does excel, Morelli struggles to mimic previous efforts and seems shoved into too rigid a box. Bassist Simone Cauli employs a tone notably rougher than before. It’s got a retro sound that feels at odds with the futuristic subject matter of Cybergenesis. Where the bass was velvety on Dangerous Days, it’s much grittier or more textured here. Similar to HyperioN’s debut, drummer Francesco Madonna puts in a serviceable but largely unremarkable performance.

Structurally, Cybergenesis isn’t breaking any new ground. Most songs fall in the 4-5 minute range and follow a standard verse-chorus-verse-chorus pattern. No risks are taken here, and this is a fundamentally safe album. This isn’t a criticism per se—HyperioN’s ability to competently utilize well-established constructions is certainly impressive—but it does hold Cybergenesis back from being greater. To its credit, it’s a pretty lean record, clocking in at just under 40 minutes. The music moves along at a good pace, and there’s no real bloat to be found here. But especially in the back half, Cybergenesis can get repetitive as its lack of originality becomes more apparent, which somewhat counteracts the album’s good pacing and brisk runtime.

HyperioN boasts some great guitar work, especially in solos and hooks and such, but I struggled to find much else on Cybergenesis that stood out. I see the same opportunity for growth that Eldritch Elitist did on their debut, but this feels like a step back. It’s marred by a vocal performance that struggles to match the music and a general lack of novel material. Nonetheless, Cybergenesis is solid meat-and-potatoes fare. It’s good background music and playlist filler, but it’s nothing to write home about. You won’t find any new metal converts worshipping at the altar of Cybergenesis, but for those who dig trad/heavy metal muchly, HyperioN’s newest offering should be plenty filling.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Fighter Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: Jan 15th, 2026

Formed in Bologna, Italy, HyperioN has been kicking around since 2015. When they visited these halls in 2017, Eldritch Elitist called their debut, Dangerous Days, “the strongest 3.0 possible,” citing its ability to “effortlessly [inject] elements of trash and power metal into the proceedings” and its “significant room for future growth.” HyperioN returns now in 2026 with their third full-length,1 Cybergenesis, a concept album chronicling an interdimensional war, humanity’s enslavement, and their eventual rebellion and liberation. Although still a five-piece, HyperioN sports an entirely new lineup save for founding guitarist Davide Cotti. Can this massive injection of fresh blood catapult these space-age heavy metallers to the greater heights Eldritch Elitist saw in the band?

New blood or not, HyperioN has a vision for their sound and proudly stays the course. Like previous efforts, Cybergenesis is heavily inspired by the likes of Metal Church and Judas Priest. But thematically rooted in sci-fi territory, HyperioN establishes the futuristic, dystopian backdrop of Cybergenesis’ narrative in much the same fashion that Blaze Bayley did on Silicon Messiah. A neoclassical opening gives way to a “Deafening” detonation of traditional heavy metal, soaring and gritty vocals, and Mozartian fills. HyperioN maintains this momentum with sticky choruses (“Yet We Still Fight,” “Blood over Chrome”), courtesy of new vocalist Max Morelli, and the strong axe work of Cotti and newcomer Francis Dipasquale (“Rewire, Rebuild,” “The Shackles of Chronitus,” “Rhizome Rider”). The potential Eldritch Elitist saw is brutally obvious when the band comes together to exceed their mathematical sum. Moments like the ends of “Grain of Sand”—where a squealing guitar lead cranks up the intensity of the final chorus—and “The Shackles of Chronitus”—where the solo extends to usher Morelli back to center stage—are particularly well done.

Cybergenesis by HyperioN

From a songwriting perspective, Cybergenesis is largely on par with previous efforts—aside from the baffling spoken word intro on “The Whole of Time”—but it’s not executed as well. Morelli is a fairly good vocalist, but he is much different than HyperioN’s previous vocalist and can’t reach the clean, clear highs of Dangerous Days. Rather than find ways to highlight the registers where he does excel, Morelli struggles to mimic previous efforts and seems shoved into too rigid a box. Bassist Simone Cauli employs a tone notably rougher than before. It’s got a retro sound that feels at odds with the futuristic subject matter of Cybergenesis. Where the bass was velvety on Dangerous Days, it’s much grittier or more textured here. Similar to HyperioN’s debut, drummer Francesco Madonna puts in a serviceable but largely unremarkable performance.

Structurally, Cybergenesis isn’t breaking any new ground. Most songs fall in the 4-5 minute range and follow a standard verse-chorus-verse-chorus pattern. No risks are taken here, and this is a fundamentally safe album. This isn’t a criticism per se—HyperioN’s ability to competently utilize well-established constructions is certainly impressive—but it does hold Cybergenesis back from being greater. To its credit, it’s a pretty lean record, clocking in at just under 40 minutes. The music moves along at a good pace, and there’s no real bloat to be found here. But especially in the back half, Cybergenesis can get repetitive as its lack of originality becomes more apparent, which somewhat counteracts the album’s good pacing and brisk runtime.

HyperioN boasts some great guitar work, especially in solos and hooks and such, but I struggled to find much else on Cybergenesis that stood out. I see the same opportunity for growth that Eldritch Elitist did on their debut, but this feels like a step back. It’s marred by a vocal performance that struggles to match the music and a general lack of novel material. Nonetheless, Cybergenesis is solid meat-and-potatoes fare. It’s good background music and playlist filler, but it’s nothing to write home about. You won’t find any new metal converts worshipping at the altar of Cybergenesis, but for those who dig trad/heavy metal muchly, HyperioN’s newest offering should be plenty filling.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Fighter Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: Jan 15th, 2026

Formed in Bologna, Italy, HyperioN has been kicking around since 2015. When they visited these halls in 2017, Eldritch Elitist called their debut, Dangerous Days, “the strongest 3.0 possible,” citing its ability to “effortlessly [inject] elements of trash and power metal into the proceedings” and its “significant room for future growth.” HyperioN returns now in 2026 with their third full-length,1 Cybergenesis, a concept album chronicling an interdimensional war, humanity’s enslavement, and their eventual rebellion and liberation. Although still a five-piece, HyperioN sports an entirely new lineup save for founding guitarist Davide Cotti. Can this massive injection of fresh blood catapult these space-age heavy metallers to the greater heights Eldritch Elitist saw in the band?

New blood or not, HyperioN has a vision for their sound and proudly stays the course. Like previous efforts, Cybergenesis is heavily inspired by the likes of Metal Church and Judas Priest. But thematically rooted in sci-fi territory, HyperioN establishes the futuristic, dystopian backdrop of Cybergenesis’ narrative in much the same fashion that Blaze Bayley did on Silicon Messiah. A neoclassical opening gives way to a “Deafening” detonation of traditional heavy metal, soaring and gritty vocals, and Mozartian fills. HyperioN maintains this momentum with sticky choruses (“Yet We Still Fight,” “Blood over Chrome”), courtesy of new vocalist Max Morelli, and the strong axe work of Cotti and newcomer Francis Dipasquale (“Rewire, Rebuild,” “The Shackles of Chronitus,” “Rhizome Rider”). The potential Eldritch Elitist saw is brutally obvious when the band comes together to exceed their mathematical sum. Moments like the ends of “Grain of Sand”—where a squealing guitar lead cranks up the intensity of the final chorus—and “The Shackles of Chronitus”—where the solo extends to usher Morelli back to center stage—are particularly well done.

Cybergenesis by HyperioN

From a songwriting perspective, Cybergenesis is largely on par with previous efforts—aside from the baffling spoken word intro on “The Whole of Time”—but it’s not executed as well. Morelli is a fairly good vocalist, but he is much different than HyperioN’s previous vocalist and can’t reach the clean, clear highs of Dangerous Days. Rather than find ways to highlight the registers where he does excel, Morelli struggles to mimic previous efforts and seems shoved into too rigid a box. Bassist Simone Cauli employs a tone notably rougher than before. It’s got a retro sound that feels at odds with the futuristic subject matter of Cybergenesis. Where the bass was velvety on Dangerous Days, it’s much grittier or more textured here. Similar to HyperioN’s debut, drummer Francesco Madonna puts in a serviceable but largely unremarkable performance.

Structurally, Cybergenesis isn’t breaking any new ground. Most songs fall in the 4-5 minute range and follow a standard verse-chorus-verse-chorus pattern. No risks are taken here, and this is a fundamentally safe album. This isn’t a criticism per se—HyperioN’s ability to competently utilize well-established constructions is certainly impressive—but it does hold Cybergenesis back from being greater. To its credit, it’s a pretty lean record, clocking in at just under 40 minutes. The music moves along at a good pace, and there’s no real bloat to be found here. But especially in the back half, Cybergenesis can get repetitive as its lack of originality becomes more apparent, which somewhat counteracts the album’s good pacing and brisk runtime.

HyperioN boasts some great guitar work, especially in solos and hooks and such, but I struggled to find much else on Cybergenesis that stood out. I see the same opportunity for growth that Eldritch Elitist did on their debut, but this feels like a step back. It’s marred by a vocal performance that struggles to match the music and a general lack of novel material. Nonetheless, Cybergenesis is solid meat-and-potatoes fare. It’s good background music and playlist filler, but it’s nothing to write home about. You won’t find any new metal converts worshipping at the altar of Cybergenesis, but for those who dig trad/heavy metal muchly, HyperioN’s newest offering should be plenty filling.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Fighter Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: Jan 15th, 2026