by David Jeffries Hybrid return with their patented and totally-tech breakbeat that includes that so distinctive slap at the end. It's the sound that lined up Radiohead, Moby, and Filter for remixes, and two albums in, it shows no sign of getting played out. Perhaps it's because on Morning Sci-Fi they use it sparingly, and with so much focus on the atmosphere and filigree, they come off as Massive Attack and Trevor Horn's lovechild. Morning Sci-Fi is darker than Wide Angle and it's not as upfront about its excellence. Vocalist Adam Taylor has been added as a permanent member and his David Gahan-like voice shows up here and there. It's good when it does, but Morning Sci-Fi's best moments are the moody instrumentals. There are great moments when New Order's Peter Hook guests for two songs on his ever recognizable and melodic six-string bass, and once again a string orchestra is utilized. Their appearances make total sense, and the album ends up being more than the sum of its parts. Moody, cinematic, and incredibly well-constructed, Morning Sci-Fi puts Hybrid ahead of Underworld by a length.