Get ready to embark on a captivating journey into the behind-the-scenes process of Hybrasil’s latest EP ‘Luchtaine.’ On this release, on Alan Fitzpatrick’s renowned We Are The Brave imprint, Hybrasil showcases his unique sound and artistic prowess. In this exclusive interview we’ll explore the inspiration, techniques, and challenges that shaped the EP’s creation.

Join us as we uncover the creative process behind ‘Luchtaine’ and learn more about the distinctive style and musical vision of Hybrasil.

Hello Hybrasil, how are you? You recently released you EP ‘Luchtaine’ on Alan Fitzpatrick’s We Are the Brave imprint, can you tell us about your creative process when working on the EP? How did you come up with the ideas for the tracks, and what inspired their sound and style?

 

I’m good thanks. My creative process is always live focused, this adds some improvisation to the creative process. ‘Luchtaine EP’ was sampler driven, working with the Elektron Octatracks and Ableton Live. So, with any record, I begin with a loop, once I feel I have something strong I perform that loop live. I will do editing or mixing afterwards, but for me it’s important to capture some element of live performance in the creative process.

The Kick/Bass rumble relationship is a signature part of techno production. Can you talk us through how you create your techno kicks and sub rumbles and what processes you use to do this?

 

It begins with a good kick sample or an analogue drum machine. I have built my own library of kick samples from different machines I’ve worked with over the years. The sound design process for kick drum production really depends on a blend of EQ, Compression and Saturation.

What sources are you starting with to develop those raw techno drums and how do you then process them to get them that way?

 

I either start with a kick drum sample or a recording from an analogue drum machine like the Roland TR-909 or the Elektron Analog RYTM. I recently worked with the Erica Synths Perkons Drum Machine and I must say that was very impressive. The key is to get the source material right at the beginning of the process, and then treating that with a series of EQ, Compression and Saturation or distortion.

 

How are you creating your drum patterns? Are you sequencing with any specific hardware and if so, how does that process look?

 

I use Ableton a lot, I also work with the Elektron Octatrack, Elektron Analogue RYTM and I recently wrote a track almost entirely on the Perkons HD-01. I think it depends on the situation, but how you begin can influence how the track sounds in the end. Working with hardware like the Octatrac, Analogue RYTM or Perkons does allow you a more hands on approach in terms of envelopes and pitch. Working with Ableton is very quick and explosive and allows you to get ideas down quickly. Sometimes a blend of different approaches can also lead to interesting results.

 

The sustained atmospheric chord elements you use are a running theme throughout this EP. They are simplistic in nature yet so dynamic and atmospheric in nature that they keep the listener engaged. What techniques are you using on this to keep a simple element developing and modulating throughout the tracks?

 

With something subtle like these sustained chords you mentioned, you can use LFO’s to modulate that element over time or else get hands on with the synth or VST, and modulate it by hand over time. I think the important thing is movement and to create some sense of evolution over the course of the composition.

 

Your Top drums in “Celestial Sphere” and “Cliodhna” have a lovely clean and crisp frequency at around the 3-4k range. How do you go about making this so pleasing to the ear and not harsh?

 

Thank you, it’s always nice to hear feedback like this. I have been mixing records for a long time, I guess this experience really helps with the creative and finishing process. I mixed and mastered this EP, so what you are hearing is all from my studio. I mix as I produce, so when I am working on the idea; I am doing EQ, compression and effects. This allows me to hear what the track will sound like when the track is finished and it influences my decision making. Once the track is written I will do another layer of mixing before moving to mastering. This process lends itself to a clean and crisp sound.

 

How do you go about creating tracks that are both musically interesting and physically energizing?

 

I think you have to have a good idea to begin with. There is no point moving to arrangement unless you have a solid underlying idea or concept behind the track. The next key thing is production. How I engineer tracks is part of my sound, this process is a hugely important part of my creative process, however it all comes back to the original idea.

 

Can you tell us how do you structure your tracks to create a sense of momentum and progression?

 

I use ABAB song structure, which is rooted in western music composition. So, Intro, Verse, Chorus, Verse, Chorus, Outro structure. I compose my tracks live and by hand, but I always have this structure in mind when composing records. To do this intuitively takes time and practice but for me it’s a lot of fun and it yields interesting results.

You have many textures running through the song that maybe the average listener wouldn’t notice unless they were removed, what in your mind is the best way to create these atmospheric elements?

 

I think it’s important to use the sonic field. Sometimes I will use subtle or atmospheric elements that are not key to the main hook that will fill in these gaps and create a sense of fullness, that in some cases you can feel more than you hear.

 

Can you tell us about any interesting or unexpected moments that happened during the production of the ‘Luchtaine’? Did you encounter any happy accidents or surprising breakthroughs along the way?

 

Bringing an element of improvisation or live performance to your creative process, will always create something you didn’t expect. When I wrote these tracks, I did sit with them for a while before sending them to labels. I tried them out at some shows to see how they worked on the dance floor. There are elements of the track, that I think worked really well, such as coming out of the breakdowns, that I don’t think I would have created if I had sat down and written the track from left to right in the arrange view of Ableton. Improvisation is a key part of the creative process for me.

 

What was the most challenging part of producing the EP, and how did you overcome that challenge?

 

There weren’t any challenges so to speak. I took a slightly different approach in terms of sound design with this EP, I was exploring new realms of sound design to create a more industrial or aggressive sound in tracks like ‘Cliodhna’. This was interesting as it pushed me to work in a different way.

 

As a Techno producer, what 3 top hardware units would you recommend for production?

 

The Elektron Analog RYTM has been really nice to work with. I had a lend of the Erica Synths Perkons HD-01 recently and I have to say this machine sounds incredible, I think it is a future classic. For me the Roland SH-101 or its older brother the SH-09 will always be in my top three. I really love the sound of this synth.

 

Your music has already received support from Carl Cox, Alan Fitzpatrick and Anja Scheider, as well as reaching charts across major streaming platforms. How does it feel to have your music recognized and appreciated by such influential figures in the industry?

 

It’s always nice to receive support for your music. Carl Cox has supported me on his Awesome Soundwave label which he runs with Christopher Coe. I released an album with them last year (2051: Enter the Droid). Alan Fitzpatrick signed ‘Luchtaine EP’. I have been working with Radio Slave’s label Rekids since 2019. I have also really enjoyed working with Marco Faraone’s label Uncage. I have been fortunate to work with some amazing artists and labels.

What can fans expect from your upcoming projects, and how do you plan to build on the success of the EP in the future?

Greystone EP is coming out on Rekids Special Projects (RSPX) on June 16th. I have a vinyl coming out with Awesome Soundwave in October and another album written for them, which I think will be released in 2024. I also have some music coming out on my Hybrasil label in the summer, where I plan to release some concept releases in the coming months.

Hybrasil’s ‘Luchtaine’ EP stands as proof to his commitment to pushing the boundaries of Techno music; with its hypnotic rhythms, atmospheric textures, and meticulous production, the EP showcases Hybrasil’s unparalleled artistry and his ability to captivate listeners with his distinctive sound.

As Hybrasil continues to evolve and explore new sonic territories, we eagerly anticipate the next chapter in his musical journey, stay tuned for more electrifying releases and unmissable performances from this talented artist.

Listen and buy ‘Luchtaine EP’ Now

https://soundcloud.com/hybrasil-music/sets/hybrasil-we-are-the-brave-luchtaine

https://www.beatport.com/release/luchtaine/4058203

https://open.spotify.com/album/1P9yF2osQOr30KXl1uGNt6

Hybrasil Online

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