Ten Buck Bass
feat
Mark Pritchard / Harmonic 313 / Africa Hitech
(Warp, Good Looking, Hyperdub, Deep Medi...)
+
TrackTeam
Brainsss
Fiction
F3tch
Bennie Raw
Strangelove
Ghetto Blondie
Velocity
Desh
Jayar
Saturday 27th November, Crown & Sceptre, 2 Rooms + Balcony bar
Its Back! Ten Buck Bass returns for another slice of bigger bassier beats, this time over two levels of the Crown & Sceptre. Headlining this edition we are proud to bring Mark Pritchard to Adelaide for the very first time. Also known as Harmonic 313 & Africa Hitech (with Steve Spacek), getting props from Daft Punk, Gilles Peterson, Richie Hawtin, Kenny Dope & Jazzy Jeff, with dozens and dozens of highly influential releases including remixes for the likes of Lamb and The Orb stretching back to the early 1990s under more than a dozen other monikers (Chameleon / Jedi Knights for the junglists, Global Communications / Reload for the old techno-ambient heads) on literally dozens of labels including Warp, Hyperdub, Good Looking & Deep Medi, this extremely prolific UK electronic music pioneer promises a big set covering classic jungle and old school acid techno to broken beat and the latest cutting-edge dubstep, fresh from a UK-Europe tour.
Other local faves Track Team and Brainsss return again to spin their takes on the sound, Track Team packed the ‘floor like sardines last time and Brainsss smashed it at the last Boombox show, plus Adelaide bastion of drum & bass Inbound’s Fiction steps up for a rinse of some deep d&b and jungle. Other locals include The Bassbin(Fresh FM) hosts & Redline Dubstars Jayar & Desh, local producer F3tch who’s recently had several big releases on multiple overseas labels, Soundpond’s Strangelove & GhettoBlondie, the ever versatile and highly skilled DJ Velocity and old-school stalwart from the Rumble days and man with exemplary taste Bennie Raw, so all bases of bass are covered through dubstep, d&b, future garage, glitch & techno. Adelaide’s favourite night of subs-idised bass returns, taking over two rooms with the balcony bar and right as uni holidays begin, this one promises to be as packed as all before – again all this for only a tenner!
AFRICA HITECH OCT 19 2010, RINSE FM SET:
http://relay.exequo.org/rinsefm/podcast/AfricaHITech191010.mp3
(mix of dubby glitchy garagey dubstep, electronica and jungley bits toward the end)
as Chameleon – Links (on Logical Progression vol1) – ridiculous classic dnb from 1995
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Mark Pritchard - Heavy as Stone (dubstep) on Deep Medi, 2010
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Harmonic 313 – Battlestar
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Africa Hitech (feat Rio) – Too Long
<iframe src="/forum/video.php?url=http://www.youtube.com/watch?v=wGG9a5xDtLU" frameborder="0" style="overflow:hidden; height:auto; max-width:540px"></iframe> (deep & dubby)
(tons of the techno ambient stuff under ‘reload’ and ‘global communication’ names)
Bio:
Mark Pritchard is not someone you would pick out in a crowd (or identity parade). Yet his work, which now spans most of the last two decades, has been celebrated everywhere from Top of the Pops to Fabric. As a callow youth his prescient Reload project was an enormously influential slice of British techno, becoming, fifteen years on, a serious collector’s item. So too, his collaboration as Global Communication spawned the seminal ‘76:14’, regarded as one of the greatest ambient albums of all time and critically acclaimed as ‘the best ambient album of the decade’ by The Guardian. He has flitted purposefully between genres with abandon for his entire career, rarely settling anywhere for long. His work continues to impact like stealth bombs on the dance music timeline, capturing the attention of the most discerning industry heavy-weights, be it Jazzy Jeff extolling Mark’s Harmonic 33 project, Kenny Dope raving about his Troubleman beats or the many tastemaker DJs like Gilles Peterson whose critical support has been a feature of his entire career.
Mark’s seminal Reload project eventually resulted in the now-collectible ‘A Collection Of Short Stories’, that contrived to combine movie samples with sci-fi rhythms, leaving commentators drooling with superlatives (Mark is currently working on a new Reload album). After Reload Mark and Tom started working together, creating Jedi Knights, yet again taking movies as a starting point, only this time combining a love for P-Funk with mekanik age electro. Daft Punk were professed fans of the Knights and their influence on the Frenchmen is extant. On and on they went developing the house and ambient manoeuvres of Global Communication and the leftfield techno of Link & E621 -. “We created different names, which Tom was brilliant at, because at that time you couldn’t make house if you also made ambient and so on, so it simplified things and allowed us to separate out our work.” (It arguably also prevented them from getting the credit their work merited.)
Surprisingly, Global Communication’s ‘76:14’ - now regarded as a classic - initially sold disappointingly. Naturally enough, just as Global Communication was about to start getting the recognition it justly deserved, Mark took a typical detour. “I wanted to try different things and, to be honest, I wasn’t really into a lot of the house that was coming out by then and I just wasn’t stimulated by it.”
Subsequently Mark has embarked on a series of solo and collaborative projects, Troubleman (nominally his take on hip hop and broken beat but that does it an injustice to suggest so) and his Harmonic 33 project with Dave Brinkworth that began life as a series of sci-fi hip hop EPs on Alhpabet Zoo before morphing into the library music homage, 2005’s ‘Music For Film, Television And Radio Vol. 1’. Although its successor Harmonic 313 is similarly named, the numbers give the game away (313 is the area code for Detroit). It’s what hip hop would sound like if it was made by cartoon Jedis trapped inside a Roland drum machine. You can hear both sides of Detroit in Harmonic 313, the Detroit which produced Derrick May and techno but also the Motor City’s hip hop progeny, such as Slum Village and especially the lamented Jay Dilla.
It’s said that the Big Chill festival was conceived while listening to the Comms’ 76:14 album, and there are few DJs and producers who have not been touched by Pritchard’s work. From Madlib sampling it, LTJ Bukem caning The Chameleon’s Links at Speed, remixes for Lamb and The Orb, colabs with Steve Spacek (brother of D&B/Autonomic don D-Bridge) and Danny Breaks, Charles Webster eulogising Global Communications’ deep house output, Colin Dale’s Abstract Dance worshipping Reload or Richie Hawtin declaring Mark’s ‘Amenity’ by Link one of his favourite tracks of all time, his work has crossed boundaries and changed the way we thought about dance music.
