Relatively subdued in comparison to the French producers’ earlier albums, many fans have been left disappointed by the lack of hard techno elements and true “bangers” within Hyperion. However, the album has still been crowned incredibly strong if we ignore what Gesaffelstein (real name, Mike Lévy) has previously created. Some have even said the album’s moody nature is perhaps worthy of being a film OST – which I can only agree with in terms of Lévy’s solo tracks on the album.

As you delve deeper into each track on the album it becomes ever more apparent that Lévy has undergone a subtle reinvention of himself as a musician. Having worked with the likes of The Weeknd, Pharrel Williams and HAIM, it appears that he’s taking a tirade of the pop-world rather than harsh, steel-sharp anthems that his fans are used to. Regardless of the transformation that has occurred with Lévy’s music, Hyperion is cohesive and doesn’t try to overstep the line, unlike many techno albums coming out in 2019. The production is spotless, with the synths feeling straight out of the 80’s whilst also feeling incredibly new at the same time. The album rather obliviously has something for everyone who may encounter it.

Overall, Gesaffelstein proves that he’ll always have what it takes to make a thorough, supreme album – but with his last work being Aleph in 2013, listeners are querying whether Hyperion was truly worth the wait. Lévy has certainly progressed as an artist to bring us something new, unique and still inked with his own style, but has it really been enough? The album was enjoyable for sure, yet when ‘Humanity Gone’ is over, I think myself and plenty of others were left wishing for more of the heavy sounds we’d all been anticipating. This being said, there’s plenty of opportunity for Hyperion to go much harder at live shows, giving long-term fans what they’ve been waiting for, but once again, Gesaffelstein may have us waiting a while.