Hybris has released his music on a number of the most well respected drum & bass labels in the world, Metalheadz and Critical to name just two and his vital take on d&b has won him plaudits and fans from across the globe too. He has just started his own label entitled Pseudoscience and released his Say Hello To The Future EP as its first release. We had a chat with him about the label and how it started, his music and what’s next as well as d&b in general.

You have just started a new label entitled Pseudoscience. Can you tell us a bit about the label and why you have started it?

Pseudoscience is my way of releasing exactly what I want, when I want, how I want. I haven’t sent any of the music I’m releasing to any other labels, this isn’t a “bottom of the bucket” outlet for the tunes people won’t sign, this is the best and freshest music I have made, and I’m putting it out there myself, to minimize the barriers between creation and release. I’m still being very picky about what I put out, I have a few close friends I consult with about certain tunes, but this is a very close, very Prague operation, and I’d like to keep it that way. My good friend Rudolf Matejcek is in charge of the artwork, and my other homie Lukas Turza at Snap Mastering does all my mastering. I want to build a tight knit crew, and do stuff my own way.

Why did you decide to name the label Pseudoscience?

A lot of electronic music producers would like to think of themselves as scientists from the future, advancing cybernetic technology in the form of sound. But honestly, real scientists are people who sit around in labs for long hours, isolating variables and studying things under very controlled circumstances, and that’s not really what we producers do at all. What we do is much more artistic and punk and random, and while it’s very technical, it’s much more pseudoscience than actual science. I’m not advocating bad science at all, in fact quite the opposite, I think the lines between pure conjecture and anecdotal evidence and actual rigorous empirical data are quite blurred these days, and I’d like to make a more tongue in cheek poke at some of things I find ridiculous about all of it. Also, there are about ten billion electronic music labels out there that are named after super-technical sounding words and every release is somehow related to space or teleporting to other dimensions and fighting robots or alien colonies, and they take themselves super seriously, and the last thing I’d want to be is another one of those.

What are going to be the first releases on the label?

First off is a drum and bass EP by myself, which features four of my latest dnb tempo creations. They’re all slightly off center tunes that I’ve made over the past half year or so, and represent the general direction of abnormality I’d like to take things. The second EP is also pretty much finished already, and will also be by me, but will feature four non-dnb creations of mine. I considered figuring out what genre each one of them would fit under, and then sending them to relevant labels under a new name, but then I realized that sounds like a total bitch which probably woudn’t yield too much success, so I decided to just put everything out myself under the same name on my own label. The third EP is not quite done, but will feature some more dnb, probably a collab or two, and a couple solo tunes.

Who are some of the DJs/producers who will be releasing material on the label?

Right now it’s just me! I’ve got some collabs in the works with DLR, Safire, Abstract Elements,and a local homie named Prokta so we’ll see what happens with those. I’m not against signing new talent, but it’s gotta be good, and I have yet to find anything that has blown my mind. But we’ll see!

If you could sign anyone to Pseudoscience, who would you choose?

Wouldn’t mind getting some material from Amon Tobin on there, but I think he’s a bit out of my budget at the moment!

Now you’ve got your own label, you can put out your own music but what labels have you released material for in the past?

Before this I was working primarily with Noisia’s Invisible Recordings, and have released for Dispatch, Metalheadz, Critical, and Subtitles to name a few. Things are always good with the Noisia guys, and I’ve had great experiences with most other labels, but sometimes you just get the urge to do something different, to do it yourself, to fully take the risk and responsibility for it, and so that’s what I’m doing now.

You released the EP A New Tomorrow with DLR earlier in the year. How was that received and will you work together gain in the future?

I think the EP was really well received, and yup, we’ve already been in the studio a couple times since then, so keep an eye out for some new things from us.

Who are some of your influences as a DJ and producer?

Photek, Hive, Squarepusher, Aphex Twin, Amon Tobin, Bad Company.

How would you describe your DJing style?

I try and DJ smoothly, not too many abrupt cuts, but I like to keep things moving, on at least 3 decks, bringing in new stuff fairly quickly. It keeps me interested, and I think it allows me to play more experimental stuff while still catering to the short attention span of some dancefloors.

How long have you been playing and what got you into d&b in the first place?

I’ve been playing for at least 17 years now, originally it was a Photek CD and hearing Hive play at a festival that really sparked the urge to make dnb.

If you could have any MC in the world playing a set with you, who would you choose?

SP:MC. He got on a set of mine at Fabric once, and that was a pleasure, would do it again for sure.

What is a track in your set that is guaranteed to get the crowd going?

Not to brag, but that collab with DLR really seems to do the trick!


Are there any upcoming artists that you could recommend to us at the moment?

Not really, I don’t have the closest ear to the ground as far as what’s fresh, I just keep to myself and make beats.

What are your thoughts on the d&b scene at the moment?

I think everything’s awesome and I love everyone and have no problems with anything about the scene except when kids want me to play hard neuro or jump up and they can fuck right off. There’s so much music out there, that if you have a problem with any kind of music, then just don’t listen to it and go listen to something you do like.