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  #11  
Old 09-12-2009, 04:21 PM
Conjure Conjure is offline
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Quote:
Originally Posted by DrQuack02 View Post
I agree with you...I think my feb. 2010 estimate might hold....although I would think they would hit that if everything went smooth from here on.

Guess the lack of strings explains the lack of test tracks in dj sets.

I find it odd that they are recording strings now...isn't that an early part of the album? I thought ICN the track was built ground up starting with the string sample..and its destruction...at least that's what it seemed like in the master class video.
Maybe it's because of that "complete rethink" they had.
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  #12  
Old 10-29-2009, 06:50 PM
Conjure Conjure is offline
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Album finally done and ready for mastering.

http://www.hybridsoundsystem.com/news.php?i=45

A bit more information as well. Andrew Skeet returns with the City of Prague Philharmonic Orchestra, no Harry Gregson-Williams this time round. :/ The album's called Disappear Here, and is currently set for March/April, 2010. They also released a video clip form the orchestral recording for a track called "Break My Soul", here's the link to the clip.

http://vimeo.com/7326952
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  #13  
Old 10-29-2009, 08:12 PM
Hy Bound Hy Bound is offline
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That sounds amazing. I really can't wait!
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  #14  
Old 10-29-2009, 08:20 PM
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Im interested to hear this "new direction" they speak of. Should be interesting... based on the strings, i can already hear the climatic/cinematic electronic bedding im hoping to expect. So certainly the sound can not be too far off base. Either way, IM READY!
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  #15  
Old 10-29-2009, 08:23 PM
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Thanks for spotting that Conjure, I always miss those updates!

Great that it has a name and release date at last, was hoping it would be released a bit earlier than that as 5-6 months seems a long time to me if it just needs mastering? Good news anyway.
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  #16  
Old 10-29-2009, 08:36 PM
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sho' nuff, still on Distinctive. So Andrew Skeet is the composer? Sounds like they just layered some beats underneath. *ducks*
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  #17  
Old 10-29-2009, 08:48 PM
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Hybrid's work has typically been about layering beats underneath orchestral stuff. There is something to be said for what they produce though. After all, it is them behind the overall vision. They pull the projects together and are at the helm for what eventually comes forth. You can hear a lot of Hybrid's influence in film after film today. I think their intention from the beginning was to create pop-sensible film scores for films that hadn't been made. There are the more minimal, tech geek introverts making strides in a technical sense. Hybrid have never presented themselves with that always on the cutting edge label. They do what they do. And not to pee on anyone's creative process or taste but this already does more for me than anything on WOW's new album. As saccharin as some of Hybrid's stuff has become, I can't deny that they can still satiate that sweet spot in me. Even if it only lasts a short period of time.

Last edited by j3wd : 10-29-2009 at 08:56 PM.
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  #18  
Old 10-29-2009, 08:59 PM
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Hybrid's influence in film after film? That's likely more coincidence than anything because remember that Harry was at least 50% responsible for the compositional direction in the cinematic sequences to which I assume you're alluding.

And I am shocked a 30-second sequence (the majority of which has been arranged by a composer outside of the Hybrid collective) already does more for you than an entire album's worth of material from that other artist you mentioned. It just goes to show you are more entertained by this classical/electronic melding than vintage 80s synths.

Oh yea, I listened to the new Posford and co. and was finding some of it quite enjoyable, though a little new-agey in parts.
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  #19  
Old 10-29-2009, 09:03 PM
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I agree mastering should be 1-2 months, not 5-6...perhaps its not as done as they think? haha

Great to see some new info though, can't wait to go home and give this a listen!
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  #20  
Old 10-29-2009, 09:09 PM
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I wouldn't jump to the conclusion that I'm offput by vintage synths. In the right hands they can do some truly stirring and effective things. "New Agey" stuff is more and more up my alley. I think it's often on to something much more soulful than more dance-floor oriented stuff. The combo of the two is a winning meld. We'll take that as an example. The amount of vintage synths Posford uses to create his ever-changing melodies is ample. It just so happens that what he programs and manipulates does far more for me than what, once again, WOW did on their recent effort. It'd be interesting to delve deeper into what exactly these two groups touch in the both of us and why. Because, from what it seems, you get the same juice from WOW as I do from a group like Shpongle and in a lesser sense, Hybrid. To each their own. But you're an outspoken, opinionated and self-admitted fanboy for a group I don't really get. I've tried, and I don't. Cheers to differing opinions.

Oh, with regards to the film influence, their production style has been adopted by film scorers. Granted, they worked with Gregson-Williams on projects before and after their last record which explains the sounds there. But I've heard sound design that's reminiscent of Hybrid in many film scores over the last 8 or 9 years. That's what I mean. Also, yes...somebody else composes the strings for Hybrid's albums. Is that a little lame? Maybe. But rest assured they're doing the research, meeting the composers and creating the vision. They're directors.

One last edit...I feel it necessary to mention that WOW's first album still ranks high on my list of favorite electronic albums.

Last edited by j3wd : 10-29-2009 at 09:35 PM.
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