Label: Independent
Genre: Extreme Melodic Power Metal
Length: 33:21
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Chaos over Cosmos is a project started in 2015. Originally from Poland, the project has seen the participation of several collaborators on vocals, including guests from Spain, Australia and the United States. In its ten-year career, Chaos over Cosmos has released four albums and two EPs. I discovered this project at the end of 2025, when its fourth and latest album, The Hypercosmic Paradox, was released. Having not listened to the previous releases, I have no clear idea of what Chaos over Cosmos offered before.
The Hypercosmic Paradox is an album consisting of five tracks, including two instrumentals, with a total running time of 33:21. It was released in digital format and as a digipak CD at the end of 2025. With the exception of the two instrumental tracks, the other songs are quite long. They feature fast guitars, powerful and percussive drums, and keyboards that create cosmic and unrealistic atmospheres. The whole is carried by a certain technicality and vocal aggression directly inherited from death metal. The rhythm changes frequently, all based on a very modern production of the genre. (Not being particularly accustomed to this type of fusion between styles, I will nevertheless attempt to offer a musical analysis.)
The album opens with an instrumental track, Nostalgia for Something That Never Happened, built on a power metal foundation with a slightly more technical approach. From 2:20 onwards, a cosmic atmosphere begins to take hold, followed by a well-placed solo at 2:54. When the Void Laughs starts off in a similar vein, but at 0:53, the composition becomes particularly catchy. At 4:08, the keyboard notes are judiciously integrated and serve as a transition to a solo that begins at 4:27 supported by intense drumming.
In my opinion, Event Horizon Rebirth contains the best vocal performance on the album. It's a direct and effective track. I particularly note the solo starting at 4:30, followed by a more melodic composition at 4:54. From 6:45 onwards, we dive into a resolutely power metal section, which defines the overall identity of the album very well. On The Cosmo-Agony: Requiem, I particularly enjoyed the atmosphere created during the first 30 seconds, before the instrumental avalanche resurfaces, with the bass coming to the fore at 0:36. The composition remains melodic, while displaying great technical skill on the guitars, and develops over several minutes until the vocals come in at 2:54. I also really liked the change of rhythm at 3:55. From 5:26 onwards, we reach what are undoubtedly the best notes on the whole album (this is clearly one of my favourite passages). The Fractal Mechanism, the last track on the album, takes a different direction. There are no guitars here, but it's like an outro that adopts a style of its own.