Full Hybrid Interview
- Here's the full interview with Hybrid (from iCrunch):
Interesting stuff in there........
The lush, cinematic sound of breakbeat-house trio Hybrid seems inextricably linked to the world of film soundtracks. Having worked with Twin Peaks star Julee Cruise for their debut album Wide Angle, they have just teamed up with Chrissie Hynde for a string-soaked update of The Pretenders' 1979 song Kid. Lifted from the soundtrack to the new Harry Enfield and Kathy Burke film 'Kevin & Perry Go Large', it was released this week. iCrunch spoke to Hybrid's Mike Truman - knackered after an early-morning appearance on 'The Big Breakfast' about the single, the band's summer festival schedule, and their plans for the future.
iCrunch: How did you hook up with Chrissie Hynde?
Mike: Harry Enfield was using The Pretenders' 'Kid' on the soundtrack for the rough cut of the film. Someone slipped him a copy of our album and he started raving about it, so we were asked to do a new version of the song. We expected to be given an a capella to work with, but then Chrissie's manager asked us to set a time for her to come into the studio. We went to meet her with the backing track, and Harry turned up as well. They both loved it, and she went in to do the vocals straight afterwards.
iCrunch: So were you big fans of The Pretenders?
Mike: Chrissie and Deborah Harry are definitely the two main rock goddesses as far as I'm concerned - they've still got the attitude. It was a complete honour to work with Chrissie - she's really cool.
iCrunch: Do you watch Harry Enfield's TV shows?
Mike: I'm a massive fan of what he does - he's a real institution. He's a really charming, laid back guy. He was really keen to get our music into the film and that's how the single came about.
iCrunch: Would you like to do more film work?
Mike: We've had some offers to do film scores, but it might have to wait until after we've finished the second album. I can't see us doing a romantic comedy - it would be great to do a thriller, something along the lines of 'Lock, Stock & Two Smoking Barrels.' It would be good to experiment and do something which blended old-school scoring techniques with a more high-tech, fucked-up sound.
iCrunch: Any more singles in the pipeline?
Mike: We've done a dark, nasty new version of 'Theme From Wide Angle' with new super-heavyweight bass noises on it. It's due out sometime in June or July with new mixes, probably by Squarepusher and Freq Nasty. Squarepusher's amazing - he's completely off the hook - and we remixed Freq Nasty's last single so he's doing a mix for us.
iCrunch: We heard you were going to release a special-edition version of your album.
Mike: Over the last year, our sound has changed slightly and taken a slightly darker, funkier, deeper tangent. We wanted to reflect that and also repackage our album, so we've added a live CD with tracks recorded in the US and Japan. There's several new tracks on there, as well as new mixes of 'Snyper' 'Theme From Wide Angle' and 'Symphony'. It's coming out on May 29.
iCrunch: What are your live plans for the summer?
Mike: We're playing at several festivals - Homelands, V2000 and probably Glastonbury and we'll be doing special new versions of some of Chrissie's songs. She did a James Bond theme, which might be ideal - those John Barry strings would sound great with a breakbeat and kickdrum underneath them. We're also doing Hybrid Sound System dates at clubs like Tyrant in London and Bed in Sheffield in June.
Mike: We wanted to do a cross between DJing and playing live, so we're going to use three turntables and some synths, samplers and effects boxes. We'll be doing really long sets of five or six hours. After the summer, we're going to concentrate on writing the second album - we've been playing the first one live for about 18 months and we need some new tunes to play out.
iCrunch: How do you see your music progressing?
Mike: I can see things getting darker and sparser, but also a lot funkier and more organic. It feels like we haven't explored 4/4 tracks as much as we could yet. We're likely to use strings again, but maybe a 12-piece section with a taughter sound to them, like on Bjork's albums. A friend put us in touch with a 120-strong orchestral choir from Warsaw, and we'd like to experiment with them and use them as a sound source. We're also keen to work with a singer who can give things a more bluesy twist to things, like Leftfield did on Swords, and we're talking to a couple of people at the moment. I'd also love to work with an American rapper like Mos Def, Nas or Q Tip - their stuff would sound great at double the BPM with a break over the top and a huge bassline underneath.