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1 other sets by Concord Dawn - Technical Itch
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Concord Dawn - Engage - Mar 2004
Submitted By: 
drewby39
drewby39Genre: Jungle / Drum and Bass
Date of Set: Mar 15th, 2004
Filesize: 61.76 MB
Total Downloads: 3
Biography of Concord Dawn
Concord Dawn are one of New Zealands highest selling electronic artists, and have been in the New Zealand University b-net radio charts top 10 for longer than any act in history. In 2001 the boys picked up the 'Best Electronic Release' and 'Best Independent Album', at the b-net music awards. Accolades such as these are evidence to prove they have earned a reputation as one of the most devastating live acts in New Zealand, creating a unique vibe on the dance floor that leaves everybody wet and smiling.
Auckland based Concord Dawn are currently setting alight the bFM top ten with their dark n' nasty drum and bass infestations and preparing for the release of their self-titled debut album on July 15. Helene Ravlich met the duo between takes in a last minute studio session at Kog Transmissions headquarters.
Concord Dawn are Matthew G. Harvey and Evan Short, two very different boys who get together to create hard sounds for the drum n' bass masses. Matthew is the religious d Ôn' b freak with an all consuming passion for the sound and a lifestyle surrounding it. 'I'm unemployed right now says Harvey by way of introduction. Or rather I'm a professional trainspotter. I spend most of my time on the net, checking out drum n' bass and chatting to people about music. I also like hanging out with my girlfriend and writing music'. Evan Short is the metal freak; 'I'm in Day One as well, a hardcore band. When I go home I listen to Pantera, Sick Of It All, stuff like that. I work fulltime in the Guru Lounge (dj equipment specialists) at Mainline Music, dealing with high tech stuff, samplers and computers. It's great'.
The name Concord Dawn is an obscure Star Wars reference, courtesy of SW freak Harvey, and it refers to the planet where Boba Fett (the bounty hunter) originated from. The planet of the Mandylorians. Not many people know that!. Harvey was using the name to write his own, self-described terrible' drum n' bass, and it stuck when he teamed up with Short. It seems to stay in people's heads, and 'it's not boring like DJ blah blah blah and Someone Else'.
The kind of drum n' bass they create is the sort of sound they want to hear, rather than an attempt at emulating what's already out there. 'We're not really full spectrum, more on the dark and nasty side, the techie rather than the jazzy side,' says Harvey. Their own musical sidelines don't enter into the equation when they create music together. 'I keep jazz for my jazz band. We don't try to mingle our sounds. We don't make all of our bands sound the same'. Short: 'Just because I play in a metal band doesn't mean I'm going to try and put guitar riffs in a Dn'B track'. Having said that, he did admit that if Pantera were requested during one of their sets, he'd play it if he had a copy in his pocket...
The boys are being cared for by Kog Transmissions, who are distributing and helping market their album. 'Kog have been nothing but good to us' says Harvey. 'They are smart boys who think well. Guys like Chris Chetland, who is Big Daddy Kog, are smart in that they can write a master's thesis as well as hook us up a gig'.
Many have accused the New Zealand (and particularly Auckland) Dn'B scene of being so far up its own arse it's almost turning inside out. People seem to want to keep it all underground thinking that'll mean it stays 'cool'. What do the boys think of that? 'There is no harm in taking your sound to the mainstream' says Short, but it has to be in a good way that will still keep the integrity there. That's what music should be about and one of the reasons I write music. You get to express sonically different ideas, moods and atmospheres to other people'. We both agree that when musicians get popular they're still the same people making the same music. 'If lots of people like something and the integrity's there them that's cool. In reality, anyone who thinks they're underground would be overground given half a chance and a bagful of money'.
The key thing about drum n' bass is its element of transition, its existence as a kind of bastard genre. Five years ago it was jungle, in five years time it'll be something else. Evan agrees, 'It's important to experiment with it and not get precious or elitist with it. The further you push the sound, the more interesting it's going to get'.
Matthew adds one final, mystical analogy, 'It's like you're making Chinese food, but using parmesan cheese. It tastes a little bit Italian but it's still Chinese food! Making different marriages is where you discover something new and fresh'.
Auckland based Concord Dawn are currently setting alight the bFM top ten with their dark n' nasty drum and bass infestations and preparing for the release of their self-titled debut album on July 15. Helene Ravlich met the duo between takes in a last minute studio session at Kog Transmissions headquarters.
Concord Dawn are Matthew G. Harvey and Evan Short, two very different boys who get together to create hard sounds for the drum n' bass masses. Matthew is the religious d Ôn' b freak with an all consuming passion for the sound and a lifestyle surrounding it. 'I'm unemployed right now says Harvey by way of introduction. Or rather I'm a professional trainspotter. I spend most of my time on the net, checking out drum n' bass and chatting to people about music. I also like hanging out with my girlfriend and writing music'. Evan Short is the metal freak; 'I'm in Day One as well, a hardcore band. When I go home I listen to Pantera, Sick Of It All, stuff like that. I work fulltime in the Guru Lounge (dj equipment specialists) at Mainline Music, dealing with high tech stuff, samplers and computers. It's great'.
The name Concord Dawn is an obscure Star Wars reference, courtesy of SW freak Harvey, and it refers to the planet where Boba Fett (the bounty hunter) originated from. The planet of the Mandylorians. Not many people know that!. Harvey was using the name to write his own, self-described terrible' drum n' bass, and it stuck when he teamed up with Short. It seems to stay in people's heads, and 'it's not boring like DJ blah blah blah and Someone Else'.
The kind of drum n' bass they create is the sort of sound they want to hear, rather than an attempt at emulating what's already out there. 'We're not really full spectrum, more on the dark and nasty side, the techie rather than the jazzy side,' says Harvey. Their own musical sidelines don't enter into the equation when they create music together. 'I keep jazz for my jazz band. We don't try to mingle our sounds. We don't make all of our bands sound the same'. Short: 'Just because I play in a metal band doesn't mean I'm going to try and put guitar riffs in a Dn'B track'. Having said that, he did admit that if Pantera were requested during one of their sets, he'd play it if he had a copy in his pocket...
The boys are being cared for by Kog Transmissions, who are distributing and helping market their album. 'Kog have been nothing but good to us' says Harvey. 'They are smart boys who think well. Guys like Chris Chetland, who is Big Daddy Kog, are smart in that they can write a master's thesis as well as hook us up a gig'.
Many have accused the New Zealand (and particularly Auckland) Dn'B scene of being so far up its own arse it's almost turning inside out. People seem to want to keep it all underground thinking that'll mean it stays 'cool'. What do the boys think of that? 'There is no harm in taking your sound to the mainstream' says Short, but it has to be in a good way that will still keep the integrity there. That's what music should be about and one of the reasons I write music. You get to express sonically different ideas, moods and atmospheres to other people'. We both agree that when musicians get popular they're still the same people making the same music. 'If lots of people like something and the integrity's there them that's cool. In reality, anyone who thinks they're underground would be overground given half a chance and a bagful of money'.
The key thing about drum n' bass is its element of transition, its existence as a kind of bastard genre. Five years ago it was jungle, in five years time it'll be something else. Evan agrees, 'It's important to experiment with it and not get precious or elitist with it. The further you push the sound, the more interesting it's going to get'.
Matthew adds one final, mystical analogy, 'It's like you're making Chinese food, but using parmesan cheese. It tastes a little bit Italian but it's still Chinese food! Making different marriages is where you discover something new and fresh'.
Technical Itch - Engage - Mar 2004
Submitted By: drewby39
drewby39Genre: Jungle / Drum and Bass
Date of Set: Mar 15th, 2004
Filesize: 61.76 MB
Total Downloads: 3
Biography of Technical Itch
Back in 1991 Mark Caro was based in Birmingham, DJing at local parties & starting out on the production trail with a very limited set up. As the years passed Mark's unit became more professional & he released tracks as ENTT through the Ibiza label. Mark had by now hooked up with Darren Beale (Decoder) who helped him out on the first Plasmic Life EP that appeared on Bizzy B's Brain imprint.
Further releases ensued, but Mark had the desire to set up his own label, so launched Tech Itch Recordings. The label achieved some success, but it wasn't until Kenny Ken played a selection of Tech Itch tracks on Kiss FM that the rewards of all the hard work began to pay off. On the back of this exposure the Technical Itch name was signed to 'Moving Shadow' &, with Mark by this time settled in Bristol, as they say - the rest is history.
On Moving Shadow, Mark Caro has built up a reputation for delivering tracks with power, venom & highly detailed production qualities. Over the past few years he has unleashed frighteners like 'The Dreamer' (Shadow 099), 'The Virus' (Shadow 101), & 'Stronghold' / 'Hidden Sound' (Shadow 116), while in 1999 two monstrous singles ('Trysyinate' / 'Scope' - 'vintage Tech Itch' Knowledge - March / April 1999; and 'LED' / 'Arced' - 'rock hard noise terrorism' Muzik - July 1999) paved the way for Mark to deliver his debut album to the label. 'Diagnostics' embraces all the qualities that has made the Tech Itch sound so popular - sinister atmospherics, brutal beats, gut wrenching bass & breathtaking production; but with this collection a more refined edge & a clinical execution of dance floor aesthetics made this package all the more accessible.
Of the album, Update (9th May 1999) said that 'Mark 'Tech Itch' Caro has created a sound, & for that alone he deserves recognition, 'Diagnostics' has its place in Drum & Bass history. Tech-step at its most inventive', while Muzik commented that '....with this album, the heavyweight is made accessible to all......Caro sure knows how to instigate the dramatic', & Flipside noted that '....the future of drum & bass is safe in the hands of the man with the itch.'
On his own Tech Itch Recordings imprint Mark has released under a variety of monikers. Back in the days of 'Circuit Breaker' & 'UXB' (circa 1996/7) Mark recorded with Darren Beale as Decoder, but in recent years has opted for Secret Methods, Mark Caro & Technical Itch. 1997's Secret Methods Vol. 1 housed two slices of hardcore dance floor devastation in 'Domain' & 'Raw Data', while the last year's collaboration with Decoder resulted in 'EKO' smashing its way through the Drum & Bass scene. Creating the 'Diagnostics' album for Moving Shadow meant a slowing down of releases on Tech Itch Recordings last year, but 1999 saw the label rolling hard again with an even greater release schedule planned for 2000. The first arrival was the long-awaited Secret Methods Vol. 2, on which 'Animation' and 'Vortex' lay in wait to aurally abuse every listener.
This has recently been followed up by the double header pitching Decoder's 'Headlock' with 'Technical Itch's bruising 'Deception'. 'In short, a killer track destined to be played out for a long time yet' said Echoes (15 May 1999) while Atmosphere (Issue 46) were equally impressed, saying that 'Deception brings out the original trademark flava.....y'know, the one y'all have got to know and love. Cool man.' Recent releases from the label have included collaborations between Technical Itch & the US #1 Dieselboy on 'Atlantic State' & 'Scythe V2', & also with Served Chilled's Barticus as Biostacis. Meanwhile early next year, amidst the single releases, will be the first ever Tech Itch Recordings compilation - 'Subculture'..
As well as Mark's own creations, he is involved with the aforementioned Biostacis project who released the almighty 'Flashpoint' earlier this year on Audio Couture & more recently the 'Gamma Ray' & 'Menace' 12' on Tech Itch. February 2000 will see the 1st Biostacis EP, again released on his own Tech Itch.
Throughout his production career his studio skills have also been sought after by countless labels for production & remix work. These include Formation, Renegade Hardware, Fuze, Sub Pop & Palm Pictures where he has turned Mocean Workers 'Heaven @ 12.07' into one of the chunkiest hunks of tech-funk Drum & Bass that you'll hear. Current projects include the 'Parallax' EP for release December 1999, his next Moving Shadow album, co-production of Dieselboy' album project(s) with Palm Pictures, the further development of Biostacis & also next year's ongoing Label Residency & Touring commitments.
Further releases ensued, but Mark had the desire to set up his own label, so launched Tech Itch Recordings. The label achieved some success, but it wasn't until Kenny Ken played a selection of Tech Itch tracks on Kiss FM that the rewards of all the hard work began to pay off. On the back of this exposure the Technical Itch name was signed to 'Moving Shadow' &, with Mark by this time settled in Bristol, as they say - the rest is history.
On Moving Shadow, Mark Caro has built up a reputation for delivering tracks with power, venom & highly detailed production qualities. Over the past few years he has unleashed frighteners like 'The Dreamer' (Shadow 099), 'The Virus' (Shadow 101), & 'Stronghold' / 'Hidden Sound' (Shadow 116), while in 1999 two monstrous singles ('Trysyinate' / 'Scope' - 'vintage Tech Itch' Knowledge - March / April 1999; and 'LED' / 'Arced' - 'rock hard noise terrorism' Muzik - July 1999) paved the way for Mark to deliver his debut album to the label. 'Diagnostics' embraces all the qualities that has made the Tech Itch sound so popular - sinister atmospherics, brutal beats, gut wrenching bass & breathtaking production; but with this collection a more refined edge & a clinical execution of dance floor aesthetics made this package all the more accessible.
Of the album, Update (9th May 1999) said that 'Mark 'Tech Itch' Caro has created a sound, & for that alone he deserves recognition, 'Diagnostics' has its place in Drum & Bass history. Tech-step at its most inventive', while Muzik commented that '....with this album, the heavyweight is made accessible to all......Caro sure knows how to instigate the dramatic', & Flipside noted that '....the future of drum & bass is safe in the hands of the man with the itch.'
On his own Tech Itch Recordings imprint Mark has released under a variety of monikers. Back in the days of 'Circuit Breaker' & 'UXB' (circa 1996/7) Mark recorded with Darren Beale as Decoder, but in recent years has opted for Secret Methods, Mark Caro & Technical Itch. 1997's Secret Methods Vol. 1 housed two slices of hardcore dance floor devastation in 'Domain' & 'Raw Data', while the last year's collaboration with Decoder resulted in 'EKO' smashing its way through the Drum & Bass scene. Creating the 'Diagnostics' album for Moving Shadow meant a slowing down of releases on Tech Itch Recordings last year, but 1999 saw the label rolling hard again with an even greater release schedule planned for 2000. The first arrival was the long-awaited Secret Methods Vol. 2, on which 'Animation' and 'Vortex' lay in wait to aurally abuse every listener.
This has recently been followed up by the double header pitching Decoder's 'Headlock' with 'Technical Itch's bruising 'Deception'. 'In short, a killer track destined to be played out for a long time yet' said Echoes (15 May 1999) while Atmosphere (Issue 46) were equally impressed, saying that 'Deception brings out the original trademark flava.....y'know, the one y'all have got to know and love. Cool man.' Recent releases from the label have included collaborations between Technical Itch & the US #1 Dieselboy on 'Atlantic State' & 'Scythe V2', & also with Served Chilled's Barticus as Biostacis. Meanwhile early next year, amidst the single releases, will be the first ever Tech Itch Recordings compilation - 'Subculture'..
As well as Mark's own creations, he is involved with the aforementioned Biostacis project who released the almighty 'Flashpoint' earlier this year on Audio Couture & more recently the 'Gamma Ray' & 'Menace' 12' on Tech Itch. February 2000 will see the 1st Biostacis EP, again released on his own Tech Itch.
Throughout his production career his studio skills have also been sought after by countless labels for production & remix work. These include Formation, Renegade Hardware, Fuze, Sub Pop & Palm Pictures where he has turned Mocean Workers 'Heaven @ 12.07' into one of the chunkiest hunks of tech-funk Drum & Bass that you'll hear. Current projects include the 'Parallax' EP for release December 1999, his next Moving Shadow album, co-production of Dieselboy' album project(s) with Palm Pictures, the further development of Biostacis & also next year's ongoing Label Residency & Touring commitments.
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