Under the Influence: Underworld

Here, URB plumbs the record collections of your favorite artists to find out what influenced them to become the superstars they are today. This month, Underworld's Karl Hyde reveals a diverse span of influences.

Words: Phuong-Cac Nguyen

With two decades in the music biz, countless singles and EPs and five full-lengths (Dubnobasswithmyheadman earned the distinction of becoming the soundtrack to the disaffected Trainspotting generation), notable involvement in the art world and the design company they oversee (Tomato) all in their beefy repertoire, it's safe to say that Karl Hyde and Rick Smith of Underworld have already arrived. "We've just sort of taken an attitude of that there isn't much left to prove, really, that we just make music for the joy of making music," says Hyde.

That laissez-faire approach has materialized into the eagerly awaited A Hundred Days Off, a small departure for the usually dark Underworld. For one, it's remarkably soulful and brighter, but still emotionally edgier than previous LPs Second Toughest in the Infants and Beaucoup Fish; secondly, it's a less contrived album—Hyde cites daytime metropolitan observations and world music as refreshers. But the third factor surprisingly leaves the band unscathed: Darren Emerson's contribution to the group is now officially absent, him leaving Underworld to embark on what has turned out to be a rewarding solo DJ career. "Most of those great grooves and great tunes were Rick anyway," Hyde emphasizes. "Darren was a fantastic link to a very specific part of the dance scene in the early '90s and that was invaluable in [those] days."

So do Hyde and Smith plan on taking a 100-day sabbatical before leaving on tour? "Nah, that's boring," dismisses Hyde, laughing. But he did take a time out to share with us his 10 favorite albums.

[List of Hyde's fave albums have been left out, but let me know if you'd like to see the rest.]