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In the studio with Hybrid TECH


and loved the evocative sound of composers like Hans Zimmer and James Newton Howard, and tried to get some of that sound on our artist records. This is why recording orchestras for club records always felt like a good idea as it combined two passions — electronic music and film scores — into one. So the jump from one to another was a more gradual process when we were given the opportunity to get involved in film scores.”


You’ve just released a new album... Mike: “Yes, the new album ‘Classics’ has just been released by Distinctive, it’s a collection of tracks that celebrates and re-lives our best moments. It includes cuts from each of our previous albums plus some rare B-sides, including our cover of Depeche Mode’s ‘Enjoy The Silence’. We’ll also be releasing a four CD box set that will focus on our cinematic work.”


making a well-arranged record and trying it out on a crowd is the best road-test you can have, but writing for film has many more constraints because its basic purpose is to convey a feeling and emotion which perfectly syncs with what’s happening on screen.”


How did you find the jump from dance music to soundtracks? Mike: “We’ve always been huge fans of film scores


Do you miss making dance music of sorts? Chris: “We still do! Scoring for film and games has sort of become our day job (OK, dream job really!), so making records sometimes comes secondary to that, but we still have enough time to do both and would never want to just do one or the other. “After a few months working on a film, we’re practically itching to get back to writing Hybrid tracks and are currently working on album No.5, which is a lot darker and heavier than our previous work. We get inspired by working on film scores, but there’s still nothing like cranking up the studio monitors and getting lost in a big fat bassline!”


outline of how the game is unfolding, perhaps with some artwork and in addition some tailored ideas about style and feel, but there is still a great deal of creative scope — as you would get when working on a movie. Game score music is mostly action-based (as in the case of Ghost Recon Future Soldier) and has to be able to loop in layers alongside the game play, and so you have to keep the momentum going. In film, you have to really try and get into the psychology of a character and help the audience to get even deeper into that character or scene without being too intrusive. You have to change when the picture changes and alongside maintaining momentum, you have to adjust your style, pace and feel for the scene as that scene changes. Now we’ve been lucky enough to work on both film and games, we can honestly say that they’re both brilliant fun to work on, and both equally challenging in different respects.”


How different is your approach to soundtracks to crafting a dance track? Mike: “The difference between writing music for clubs compared to writing for film or games is basically that you have freedom to set your own pace in club music. It’s easy to decide when the breakdown is going to happen and how long you’re going to keep everyone waiting for that riff to drop. Obviously there’s an art in


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