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With Mark Pritchard

Self hypnosis CDs, The Worzels, Jeremy Clarkson, Weird Al...

2010 Feb 01      Issue: 20

"Self hypnosis CDs The Worzels Jeremy Clarkson Weird Al Yankovich – nothing is sacred in Mark Pritchard’s collection. His Harmonic 313 album may reflect a darker edgy approach to music but here we find Mark flipping the switch and adding a welcome

“Cook was a big influence on me and was the only person I ever really had an obsession with; I had to have everything he had ever done or appeared in! I like the way he seems free and experimental with his work sometimes moving towards avant garde. My favourite would have to be One Leg Too Few.”
“A lot of the inspiration for the album ‘Collection Of Short Stories’ and the Global Communication material came from 60s 70s and 80s horror and sci-fi. If I had to pick a director it would be Kubrick. 2001 is my favourite sci-fi film and The Shining my favourite horror. I researched who’s music was used which led me to the likes of Gyorgy LIgeti Krzysztof Penderecki and Karlheinz Stockhausen.”
“This was the first music that I wanted to be a part of when I was growing up. I must have been about 10 or 11 when I first really noticed the music’s edge and a fashion to it that seemed so cool. To this day it’s mad to think that The Specials’ ‘Ghost Town’ went to number one.”
“I had a strong indie music period with bands like My Bloody Valentine Sonic Youth Pixies and later The Stone Roses and Happy Mondays. The Smiths were my favourite Madchester band. Johnny Marr had a direct influence on me – he is the last guitar hero – and Morrissey is an interesting character and clever lyricist. I’d love to get the master tapes and put  new versions.”
“I began with a Juno 106 synth then an SH1002
and 303. These were partly responsible for dance music from the  to late 80s onwards. I was also a fan of the Yamaha DX series. I had a TX816 and later a DX7 but it was the DX100 that I always wanted simply for those knocking Detroit clanky noises. I finally got one recently. Without this synth Detroit techno wouldn’t have sounded like it did.”
“The first wave of dance music I heard came from the avant garde electronic scene – bands like Coil Throbbing Gristle early Shamen. Pop Will Eat Itself and Gaye Bykers On Acid were well ahead of their time. When I started going to clubs I was blown away by what I was hearing. A few tracks that stuck out were ‘Altered States’ by Ron Trent ‘Strings of Life’ ‘Promised Land’ and of course ‘Voodoo Ray’"
A Cup O’ Tea and a Slice O’ Cake (No label)
“I’m West Country born and bred. I grew up in Yeovil then Devon then Cornwall which I  four years ago to come to Australia. I couldn’t think of any seduction records so I thought I’d do the West Country thing. I don’t own this and don’t know if it was ever available on vinyl but it was on the TV programme which I vaguely remember.”
Remember You’re a Womble (CBS)
“What I love about the West Country is that people think we’re simpler than we actually are. There’s your country bumpkin stereotype but people don’t realise they’re just playing up to it. It’s a dry wise humour. It’s like that classic Peter Sellers joke: someone asks a man if his dog bites. He says ‘no’ and the dog goes and bites them. They confront him and he answers ‘I didn’t say that was my dog’. This isn’t West Country but I’m gonna roll with it.”
The Combine Harvester
(Brand New Key) (EMI)
“I’ve got lots of Wurzels records and actually got to warm up for them! It was five or six years ago and a real career highlight. I’ve managed to play one of their songs on Kiss FM. Me and Tom squeezed it in. I don’t get many chances to do that now – Wurzels don’t really fit in a grime and dubstep set!”
Fill Up The Cider Cup (Argo Records)
“The Yetties didn’t really have any hits. They were from Dorchester way and I remember seeing the title and it made me laugh. They were popular in the West Country – I don’t think they got much further than that though!”
Will Anyone Marry Me? (EMI)
“I think she was from Plymouth or Gloucester and made it onto national TV. I remember her saucy poetry voice and while I’ve not listened to this album it fits the category too well to ignore!”
Nagging Woman (SRS)
“A mate of mine an engineer from Yeovill told me about these guys and I thought he was winding me up. When I came over to Australia I saw some of their records over here too I had to buy one. I thought I’d throw this in as the title fits the vibe.”"


Equinox Chapter One (Retroactive Records)
“This is the first Carl Craig related record I ever got. I got this five tracker with various combinations of Detroit artists. There’s an amazing vocal track and the  EP blew me away because it was techno but not traditional techno – those beautiful deep chords tuned to create fantastic harmonics.”
Norte Route (Planet E)
“Balil is Ed from Plaid. The first stuff I heard was the ‘Mbuki Mvuki’ LP which was quite breakbeaty and I’ve been a fan of everything they’ve done since. This was originally on an ‘ART’ series for R&S then Carl Craig licensed another version for a Planet E compilation and that’s my favourite version. This is their strongest most inspiring work to date.”
Songs of Innocence (Capitol)
“Axelrod was an arranger for Capitol. He did ‘Songs Experience’ and ‘Songs of Innocence’ and they’re inspired by the poems of William Blake. He had Earl Palmer playing drums and there’s an almost hiphop swing they call the swamp beat. The music’s got a lot of darkness and light.”
Arthur Verocai (Luv N’ Haight)
“A friend brought this to inspire me when I was doing the Troubleman stuff. He’d bring  all sorts but this really stood out. This was going for a couple of hundred pounds if you were lucky – recently it’s gone for $1000. Luv N’ Haight were wise to reissue it. It’s not traditional Brazilian but he’s applied his native style.”
The Infamous (Loud)
“There’s something about the power and darkness of this that drew me in. It’s very raw it’s not about gangster rap as a lifestyle; it felt more honest and raw. The subject matter’s very nasty but there was something really edgy and exciting about it and the production is so loud and clear to this day.”
EP (Strictly Rhythm)
“This was mainly Kenny Dope. It’s the ‘I’m For Real’ track that really sang to me. He was using an SP12 drum machine which most hip-hop people were using and the snares and kicks were so knocking and raw. This has inspired lots of stuff for me from Troubleman to housey stuff Tom and I used to do.”"
Y Reg (Eleven Records)
“I’m a bit of a Shuttleworth fan so this had to be on my list. He’s a comedian from the north was Jilted John who did that ‘Gordon Is A Moron’ song and has done a lot of radio stuff. He does this comedian character who drives a Y-reg Austin Ambassador.”
Gear: Seriously Cool Driving Music (EMI)
“Jeremy Clarkson’s a wicked selector. What more can I say?”
101 Driving Songs (Virgin)
“Just in case you need more than what Clarkson has prepared this covers it all. Definitely one for long journeys!”
Driving Home For Christmas (Magnet)
“This is a nice little festive number. It’s quite jolly and it fits the vibe. I didn’t get to hear it this Christmas – it wasn’t a hit in Australia unfortunately. Shame really…”
Autobahn (Vertigo)
“I had to put one serious one in here. I saw them live for the first time recently; they played at a festival after Fischerspooner. I didn’t think that would work but it did. They did what you’d expect: there wasn’t much movement but the visuals were fantastic and the music was amazing. They hadn’t modernised it much and when they did it worked really well. It was nice to see they hadn’t over digitised and cleaned up the tracks and their encore was performed by robots… Amazing.”
Pass Your Driving Test (Hypnosis CD) (Diviniti Publishing)
“Not one for when you’re driving of course but could be quite helpful if you want to pass your test.”"
A Doughnut In My  (Rough Trade)
“These aren’t really floorfillers but they’re tunes I’m playing now. Well except for this one! I put this in because I had the album with this track and I lost it. Then I rediscovered this song and was so happy to have found it again. It’s been on my mind for weeks and while I haven’t played it out I will – it’s just a case of working out how and when!”
Livin Different (CD-R)
“This isn’t out yet but Mala gave it to me a year ago and I’ve been dropping it ever since. It’s out in the first part of this year. This has deep heavy chords that roll the track along. It’s beautiful and doesn’t sound like anything else. It’s key to have tunes that aren’t all about tearing out the obviousness.”
Star Crackout (Warp)
“This is a beatless track that I’ve been starting my sets with recently. He’s chopped up a folk vocal and put these beautiful chords behind it. It’s one of those records that reset the vibe which is great when you’re playing after warm-up DJs who think it’s fine to bash it out. I’ve done a beatless track that Mala’s been starting his sets with – it’s getting the same reaction that Hudson’s tune has got for me.”
Skeng (Hyperdub)
“Everyone knows this but it still gets an amazing reaction. Dubstep’s moved quite quickly but I still play all the older stuff because people love to hear classics and new ears can hear it for the first time.”
Limb By Limb [DJ SS Remix]
(Suburban Base)
“I’ve been loving the temp switches recently. In my sets I’ll go from hip-hop to grime and dubstep to jungle. It all flows really well; if you’ve got enough time you can really push the vibe. Whatever the tempo it all comes from the same place – it’s the UK’s understanding of bassline culture.”
Fort Teen (TrebleO)
“This is on Domu’s digital label. I was playing with Hudson Mohawke he played me this and straight away I was like ‘what’s this? What’s this?’ I think it’s coming out on a Rush Hour collection. It’s a hip-hop tune but it’s got a real steppy feel to it. It’s beautiful and drops every time!”"
Memphis Soul Stew (ATCO Records)
“This is really funky has a strong drum break and a great bassline. It’s great to play out and had to be  of my list for food-related songs. I’ve gone more for food than dining I hope that’s okay!”
Fish Heads (Lumania)
“I’m not sure where they’re from in America but Barnes & Barnes are a kind of avant garde comedy act. This is a really mad funny song. I actually put it in a mix for a radio show once. You may have heard it – it’s well worth checking out. It goes something like ‘fish heads fish heads eat them up yum’ and it’s got a sped-up vocal. It’s an amazing track.”
50 Ways To Eat Your Oyster (UCD)
“A friend of mine turned me onto this guy who does comedy versions of songs and this is a cheeky twist on Paul Simon’s ’50 Ways To Leave Your Lover’. It made me giggle – it’s on the list.”
Eat It (Scotti Bros Records)
“He’s still doing funny stuff now; I’ve heard this R&B piss take he’s done recently and he’s got it  to perfection. This is really funny I think it actually became a hit didn’t it?”
Food Groups Are Rocking Tonight (Songs For Teaching)
“It does exist honestly! I was struggling to find stuff to fill this list so I started googling and found hundreds of songs about food. It’s apparently quite rocky and the title made me laugh.”
Quiche Lorraine (WEA)
“I could’ve gone for ‘Rock Lobster’ but everyone knows that one don’t they. I do like ‘Rock Lobster’ though – it was quite a commercial pop hit but it’s very cleverly done. It’s a crazy track the way the vocals are arranged and everything. I actually played this on NYE; I was in this crazy situation where people were asking for really cheesy stuff. Luckily I had Serato so I could play tunes that everyone knows but are still quite good. I keep a folder for those situations – good party tunes that aren’t shit basically.”
■ Harmonic 313‘s ‘When Machines Exceed Human Intelligence’ is out now on Warp."