"Hyperballad" (sometimes written as "Hyper-Ballad") is a song by the Icelandic musician Björk, released as the fourth single from her second solo album, Post (1995).

The lyrics describe a dream in which Björk wakes before her lover and throws objects off a cliff, watching them smash, before returning to their bed.

Here's what she sings over a sweeping, panoramic vista: 'I imagine what my body would sound like slamming against the rocks, and when it lands, will my eyes be closed or open?

"[8] Steve Baltin from Cash Box named it "Pick of the Week", noting that it "glistens with the dazzling light heartedness that characterizes the critically-hailed Post collection."

He added, "With disco undercurrents beneath the strong pop grooves, "Hyper-Ballad" is a delightful track that all fans of quality music will enjoy.

"[9] Chuck Campbell from Knoxville News Sentinel found that the "humming, low-slung" track "is much darker as Bjork reveals an early morning ritual of throwing objects from a cliff and imagines taking the plunge herself.

[12] Also Eric Henderson from Slant Magazine was favorable, saying, "Without missing a beat, Björk puts herself into the role of fragile suicidist on "Hyper-Ballad," as she throws tchotchkes over a cliff to approximate the nature of her own plunge.

A phenomenal journey, the track begins with lightly shuffling drum n' bass before expanding into an immense house groove.

This sequence, along with several others (including blinking lights and some of herself performing the song), are projected onto a three-dimensional shot of Björk lying amongst a mountainous landscape.

The graphics were shot as a series of secondary exposures using a television monitor, and the flashing lights were created with an LED strip board, also exposed on the same piece of film.

At Gondry's insistence, no edits were made after the film was exposed; the only post processing consisted of colour correction during the transfer to videotape.

Mike Diver from BBC Music gave it a positive review, saying "its accompanying video is a masterstroke of suggestive simplicity, evocative elegance; that it suits its skittering beats and contorting vocal [...]"[8] Music writer Carol Vernallis felt Gondry developed texture with an aesthetic that does not become "too coy or sickly sweet" by incorporating "a whiff of death"; pointing out that in the video, "Björk's head resembles a death mask".

"[21] The music video, with its play on the boundaries between real and virtual, has been absorbed by club culture, as a representative of the scene's visual forms of expression.