Review: The title of Hybrasil's latest release is named after the mythological race that were said to inhabit Ireland in pre-Celtic times - and there are references throughout this EP to the supernatural. The title track is a grinding, peak-time affair that features dissected vocal samples amid its pounding rhythm, while on "Hill of Tara", Hybrasil teams up with singer Sarah McQuillan to deliver a lean club track that features her ghostly, spellbinding wails. "Portal Dolmen" and "Megalith" meanwhile see the Irish producer focus on the physical rather than the ethereal, with churning chords unfolding over driving rhythms, while "Bealtaine", the Irish for May, is a deeper, dubbed out techno track.
Review: Hybrasil follows last year's Afra EP on Matt Edwards label with this dance floor-focused four-tracker. The title track is a tough percussive workout that features rough industrial tones and a series of smart breakdowns. On "Hour Glass," Hybrasil changes tact somewhat, with droning synths underpinned by steely percussion and a driving rhythm, and all of these elements make for a mesmerising combination. "Ikigai" is just as impactful, but sees Hybrasil favour a more stripped-down sound, with bells ringing and chords churning against a metallic backdrop. Leaving the deepest cut to last, "System H" features hypnotic chords that surge and dip over doubled-up claps.
Review: Following on from his Afra release on Rekids, Berlin-based artist Hybrasil follows with his debut album. Like his previous material, it is tailored for the dance floor as the giddy tempo and building organs of the Radio Slave favourite "Hathor" and the urgent, Rob Hood-style synth loop and razor sharp percussion of "Ursa Minor" both demonstrate. However, this long player also shows that there are nuances to the Hybrasil style; "Ceres" is a deeper, more mysterious techno track that unravels to driving percussion, while "Orpehus" resounds to haunting vocals and chiming chords. Combined with his club-primed material, it means that Embers is a well-rounded release.
Review: Following on from releases for Off and his own, self-titled label, Hybrasil debuts on Rekids. The title track is a pumping tribal affair that resounds to dramatic stabs, heavy kicks and a rolling rhythm. It's a lean, linear affair that showcases this emerging producer's prowess. On "Source Vibration", Hybrasil delivers another locked-on arrangement, with looped percussive chimes and a rolling groove prevailing. "Pallas Athena & Aeoleusc" centres on tough, dense kicks and a rippling bass as well as dramatic break downs. Last but not least is "Bishop", where sweeping, dubbed out chords unveil over a somewhat slower but equally effective clubby pattern.
Review: Shinedoe and 2000 & One's label has been one of the most consistent Dutch techno imprints of the past decade, and they gear up for this year's ADE with an incendiary collection. First up is 2000 & One with the slamming rhythm and pile-driving claps of "Bonus Beats Thang", while Intacto's other co-owner delivers a droning, cavernous groove in the form of "Shadow Boxing" and the muscular minimalism and snappy percussion of "Rubber Band". From there on in, the compilation focuses on other artists: Hybrasil drops the loopy "Breasal", and Atoll delivers a more spacey variation on this sound with the winding bass of "Home" and "Mental Madness", where eerie bleeps are added to the arrangement.