To understand Hybryds is to understand ritualistic electronics in one of its strongest senses. Having worked over the years with such artists as Ah Cama-Sotz, Magthea and Yasnaïa, Hybryds have composed some of the most original installations of ritualism in the past decade.
This particular cd (among the many that are long deleted) lies as one of my favorites and is highly recommended. As we journey into the ceremony of their sound, we are enticed with the passionate and hypnotic vocals of a creature called Yasnaïa. Upon listening to the beloved voice, you are submerged into the tribal rhythms and enticing trance-like strings with tracks such as “Keryneia” and “Ruach.”
When we arrive at track five, “Laughing at the Universe”, we enter cryptic themes of brooding ambience and disturbing chants of the dead. Which leads us deeper into the aquatic states of “Crom Cruach”, that transitions us to the more synthetic side of things, labeled the “Industrial side” on this cd.
The next track, “Sultry Waves”, throws us into a more electronic atmosphere, simplistic, yet completely foreign and persistent. Yet we move into some of the darkest material of this release, with tracks such “Man With No Shadow” that introduces the male counterpart more predominately to these ritualistic themes contrasted by Yasnaïa’s ritualistic chants.
Keeping with the driving ritualism of the great classic Hybryds track “I Walk Alone”, track eleven, “Octahedron”, carries on the same themes pushing on the ceremony until the end that consists of complex tribal atmosphere of “Totem” that is followed by menacingly dark aspects of “Whisper”, containing haunting female vocals contrasted by enticingly noisy yet threatening and gritty synthetics.
Words cannot describe this experience well enough, it must be experienced for one’s self. The duo recreates timeless ritualistic themes that enchant and disturb the mind and soul of those who understand their music.