Wednesday, 10 February 2010

HYBRYDS (Interview)


Interview
By
Kerval
HYBRYDS,is more than a legend inside the experimental scene,is a psychotic organism mutating and creating new forms all the time... Sandy Viktor Nys answered so this in depth interview ...so,just red what Viktor aka Magthea has to say...

Salut, Magthea, so long time my friend...well, HYBRYDS is a mutative organism, which is developed through sonic, visual patterns, and so what comes to your mind when first time explored with sounds for the success HYBRYDS has at the present moment? And how is mixed visual and audible elements in the present moment in comparison old days?

The big difference with now and the past is technology. In the beginning of the 80 ties when I started to make music, I only had a cassette recorder an old reel-to-reel Sony stereo tape recorder, a Tandy Realistic microphone and a small Tandy mixer. Sounds were recorded immediately, manipulations I could only do in speed on the reel-to-reel recorder. Later I got a cheap echo device which made more noise from itself than the sound you put it; I used it as my first synthesiser. Later I got the Korg MS20 synth and the Tascam 4 track cassette recorder. Video was analogue, to edit you had to make copies, and each video generation became worse in quality. And all that equipment was so expensive. Now a complete professional recording studio is available as software on any computer for almost no money….

Perhaps to mix primitive ethnical, ambient soundscapes, industrial, and electronic devices is the principal elements to the great development HYBRYDS has reached?
I was more fascinated by sound than by songs or music; my first records I bought in the beginning of the 70 ties were Frip and Eno, Tonto Expanding Head band, Guru Guru, Tangerine Dream… Electronic music not made with guitars, different music, captivating sounds. I wanted to make “music” that did not exist, mix different styles and cultures, the fascinating trance rhythms of ethnical music, the sacred songs of Shamans, put it together with Western experimental sounds. Creating a new hybrid kind of music. Now everything is so easy to put together on a computer, in those days we had to mix it in trial and error. It worked or it did not work.

So, it’s the main purpose with your releases to open a nexus into the Magickal spiritual world in which HYBRYDS resides and listeners minds in order to transport them to such mutative universe generated by yourself?
My interest in the esoteric and magical principles, created the concept of Hybryds. I started to put those ideas in the music, influences of books, movies…all stuff that I thought could be mind expanding, give meaning to life. I was raised as a catholic and I hated this terrible monotheistic religion, so I got interested in the Paganistic side of life, this shaped the music of Hybryds. In many cultures trance music was a communication with a higher level of consciousness. I wanted to make a western, industrial version of mind-expanding music.

Due to our curiosity, we want to know more about "The Ritual Should Be Kept Alive part 1" and to work with Djen ajakan S and Vidna Obmana? And what about "The Ritual Should Be Kept Alive Part 2"?
The ritual should be kept alive, part 1, 2 and 3 where a collaboration between me Djen Ajakan S and Vidna Obmana. Djen programmed the electronic basic rythmtracks on my demands and Vidna did the vocals. It was a trance-inducing piece; we performed in churches or other sacred or strange places. The video projection was a compilation of ethnical and sacred rituals. Live I did the mixing, and Djen the woodblock percussion, Vidna the vocals, later Ah Cama Sotz joined the live set up. I always like to work with different people to create more than I could do by myself. We did many live gigs, with different extra guest musicians in which we tried to create a trance feeling for the audience. In those times there was only rock and roll, so we were a weird band. Lucky the industrial scene was born and we could find our audience in the underground. For years our music was never noticed by the official press and radios, we existed solely in and thanks to the underground scene. But our music had something to tell, something could happen to your mind when listening.

How the first steps were back 80's to mix primitive music with thechnology? And what's your fascination for African tribal drumming and rituals?
My fascination with tribal music was born when I was 16 and visited my parents who lived in Africa. We were invited by our “boy” to watch a fertility ritual in his small village. The girls who became woman were “sold “and this happened with tribal drumming and for me strange rituals. Those people were in an alternate state, in trance, and even I was of this world on that moment. Western music never could give me this feeling. And as I told in question1, mixing this music together with western influences was not so evident, we had to cross borders, and we created music that in these days not many people accepted as music. In the beginning of the 80 ties I started a radio show on Radio Centraal, an independent Antwerp Radio Station where I met very creative weird people. 3RIOTAPES was first collaboration between Dirk Ivens, Henk Wallays and Sandy Viktor Nys. In those times (1983) their was only snail mail and phones, so 3RIOTAPES was run soon solely by Sandy Nys. It was a low budget, self-made scene. Tape desks and photocopy machines and snail mail were the chosen weapons in the urge of being independent and creating our own way of an uncensored worldwide communication. The first project was the “audio communication “series. A tape (K7) compilation with bands and artists from the world wide underground. Each contributor got one chrome master tape and sleeve cover to copy and distribute to his connections. More than 10 compilations where distributed world wide, an immense collection of tape releases followed, from Merzbow to Attrition…This music scene was connected to the mailart scene and backed up by American college radios and free radio stations, in Belgium and Holland, organizations like EE TAPES ( B) and HAMANDAHA productions ( H) were organizing independent K7 festivals with music gigs and labels selling their independent mostly self made releases. Around 1983, Sandy Nys joined RADIO CENTRAAL, Antwerpen with “NETWERK” a radio show dedicated to those independent tape releases. NETWERK lasted until 1997. During those years, 3RIOTAPES collected an immense amount of music on tape and limited vinyl and CD.We are working on a database of this collection and in the future we want to offer this archived collection to the world as free MPG. Radio Centraal and his many crazy people (Bobby Colombo!) resulted in weird audio projects and everlasting friendships. ( Spectre, Ah Cama Sotz, Hypnoscull , Insect/Monolith, Dive….) Sandy Nys got involved with music projects like the KLINIK (1985) and HYBRYDS (1986) and released and promoted their first music on 3RIORECORDINGS.
In 1992, 3RIOART vzw became an official organisation.(Registration number, Belgium : 0449.654.584 )
Its .. to promote underground art and music. It also became home of HYBRYDS, the ritual industrial music and art project from Sandy Viktor Nys.During the years many artists have used the structure of 3RIOART for their creativity. Info: http://users.telenet.be/3rioart/pagesweb/intro.html

Tell us a few about your project NA-DAH, and which were the principal elements you thought for such creation? Any inspirational hidden force let you to express yourself though such act? Any new album soon?
My side project NADHA was only a name to make a difference between the Hybryds concept, in which I worked with different guest musicians and my solo creations. And I do not use this name anymore. Because all Hybryds music is always me. My concept, my ideas even if I work with others, they know that they contribute to my concept, my world. They are part of it and in a way they would never be able to create this music on their own, it is I who shape everything into the sound, the arrangements, the stuff I like.

So what about playing live with HYBRYDS and NA-DAH? Which were the principal elements you try to focus when playing live visually talking, do you have in mind a definite visual context when playing live, or it’s just more spontaneous before a show? Tell us more about the most representative shows you have developed?
Our live shows were in the beginning always in strange or sacred places, later when the industrial scene, especially in Germany became big we started to play festivals. We always focused on trance, always used video and music to establish this. Later in the 90 ties Hybryds were only playing live as a duo, Yasnaia and me. We did good shows and bad shows, it dependent if we could hire a sound engineer to mix live or sometimes the sound installation was so bad, that none of our efforts became real.

Talking about visuals, how do you discover your skills as graphic designer, and are women are the most influential source of inspiration? What about to work in HYBRYDS expositions of male-woman, combining both sex, erotic and seductive faces of both facets?
I have been drawing all my live; my official education is that of graphic designer. In those times only with pen, paper, or paint, now I only work with a computer, Photoshop and a wacom pen. And now my visual work is based on the dark images from a paganistic past. The viewer gets submerged in a hyper realistic world. The nightmares from one person can be the sweet wishful dreams of another. The images refer to mythical times; they become speechless, recognizable in the unconscious. Women, naked, painted, decorated, besmeared, in bondage, rubber or leather, they look/glance not ashamed in the lens from the camera, or languished turn away their looks, to the other side. They sojourn in bizarre dimensions in worlds that are only known in the collective unconscious of humanity. The models are the witches of our times; they look and decide themselves how they will appear in front of the camera. Their look and attitude become the basics for the work of art. The artist is nothing but the translator, the interpretation, and the chronicler. He makes their being complete with his unconscious images. So they become on the digital canvas, a reaction against the monotheistic culture. The works have an almost alchemistic character. Out of the warm colours and organic shapes bubble up hidden symbols to the front. The female forces from the paganistic culture are central in the work. After the first visual shock, a fascination comes into existence. The themes are dark and disquieting. They are full of contradictions, decay, decline and beauty, chaos and creation, pain and pleasure. One needs contradictions to compare, to weigh. You can only know and understand beauty if you also know ugliness. The present male monotheistic culture gets confronted with its female counterpart, out of a far past: Paganism, the culture where fertility, women, magic and dreams are centralized. In a first superficial view, the viewer gets attracted to the cliché of female nudes; afterwards he gets submerged into an atavistic universe. The woman becomes an archetype; de seducer, the demon, the girl, the whore, the slave, the mistress, the priest, the mother… She finds her power in centuries old rituals. She gets rid of her present symbol. She steps across the fashion-icon she must be in this present time. Her naked body restores the balance between male and female forces. Everything she is standing for in this culture she will destroy and accentuate. Some viewers will find it shocking and confusing, others will find it fascinating. On the paper, the centuries old contradictions become truth.

The amazing, creative spirit of” Soundtrack for the Aquaria of the Antwerp Zoo" is something which was surrounded my mind. So how was to work in such release and what's the main concept of the album for those who don't know it? How important is originality when creating music for HYBRYDS, I ask you just because the whole albums seems to be very different?
Soundtrack for the Aquaria of the Antwerp Zoo, was made on demand for the Zoo to celebrate their 150 years of existence. I worked as a graphical designer at the Zoo in those time and we performed live at the aquarias of the Zoo. It was especially to the contribution of Ah Cama Sotz and his DX7 synth sounds that made it a real strong eclectic ambient concept. The first release was done by the Zoo of Antwerp, it was 1 cd with songs from Vidna Obmana and Hybryds. Later the complete Hybryds version was released on DAFT records.

In connection last question...such originality, perhaps reflects a part of your Personality, so eclectic and mutative, just as an HYBRYD emanation coming from deep realms of your subconscious?
I think its is clear that Hybryds is a reflection of my mind, my ideas my way of life.

Tell us about the extensive 5 years of hard working for the development at "Dreamscapes from a dark side” Album. And tell us about the present structure at HYBRYDS now anno 2009 E.V. And the work with Madeline Arndt as new vocals?
Dreamscapes was created out of bits and pieces of left overs, music and sounds that nowhere fit in, until I started to glue them together on a reel to reel 8 track. It was not like now with the computer, it took hours and hours to put stuff together, no time stretching, no computer to help, and all was done manually, by trail and error. And it took a long time.

"Dreambient" DVD is really a masterpiece full of diverse visual elements dressed by intense ambient, deep soundscapes floating though the whole work...so tell us which were the principal elements you choose to work into such way? There will be a second part or just it was a conceptual DVD?
From 2000 on I started to work with a new vocalist, Madeline Arndt,(from
http://www.schattenkinder.de/) first in the studio, and later live. Dreambient was a conceptual project that I worked out with Madeline and her boyfriend Sven Germeroth, he did most of the music on computer, sending it to me, I put it on my computer, and changing stuff until I was happy with it, than Madeline put her vocals on it. The video was created in Final Cut, and is a reflection of my visual art. (http://www.facebook.com/pages/TraumaSutra/95050393320) This is my new live project with Peter from Traumasutra. A new cd from this project will be released on Sleepless, the new label from Schlagstrom (http://www.schlagstrom.de/)

No comments: