The single Universal Harmony was their Global Communication's manifesto and 76:14 (Dedicated, 1994), recorded between 1991 and 1994, was their debut album. (The album's title refers to its total length and each song's title is its length in minutes and seconds).
Despite the ostensible adherence to a dance movement, this masterpiece showed that the duo excels at soundpainting, at penning abstract electronic poems and keeping them alive through subtle, bionic mutations. The vast, dramatic, multi-tonal slabs of galactic drones of 4 02, creating a symphonic counterpoint of an almost gothic intensity, are very similar to Irrlicht-period Klaus Schulze. Even more creative and free-form is the haunting soundscape of 9 39, drenched in ghostly echoes and neurotic ticking, shrouded in a thick blanket of hisses. The celestial closing track, 12 18, harks back to medieval and baroque church music, although the vocal parts are only sketched. With these tracks the duo joins the ranks of the post-cosmic and quasi-newage generation of electronic avantgarde.
The minimalist mini-opus 14 31 opens in the same sideral spaces, but populates the electronic nebulae with an array of rhythmic artifices: first a distant tribal beat, then a mechanical pattern, then a piano-based music box, and finally a dub-like thud. Melodic elements and rhythmic elements are locked in a dance that is both geometric and romantic.
When it enters the realm of dance-music, the duo is clearly less self-assured 7 39 merely repeats a beat and a chord, something like a loop of the beginning of OMID's Enola Gay. The insistent polyrhythm that rises out of 9 25's storm of wails is their most obvious concession to the day's ephimeral dance craze. Again, the duo fares best when it experiments with new forms, especially in 8 07 (that borrows a beat from African tribal ceremonies and propels it to almost Neu-ian paranoia).
Track 5 23, a cosmic, tribal and atmospheric techno summary of their lighter side, was reissued in 1994 as Maiden Voyage.
Global Communication is a gifted duo that occasionally produces mesmerizing music, but is faced with the usual dilemma whether to follow the trends or to find its own voice. Several of the most abstract (and therefore least danceable) tracks hint at a new, ambitious, electronic genre, stradling the border between minimalism, ambient, ethnic and cosmic.

In the meantime, several singles were published under the moniker Jedi Knights.

Remotion (Hit It, 1996) is a remix album.

Pentamerous Metamorphosis (Dedicated, 1998) is the reissue of a techno symphony in five movements that was born out of a remix of Chapterhouse's Blood Music.

Troubleman is Mark Pritchard's electronic bossanova project, that released Time Out Of Mind (Far Out, 2004); although The First Phase (Far Out, 2005) is a collection of dance singles that mine a variety of styles.

Tom Middleton launched his solo career much later, with Lifetracks (2007), that contains the classic house romp of Shinkansen but is mostly devoted to ambient house.

Pritchard launche the project Harmonic 313 with When Machines Exceed Human Intelligence (Warp, 2009), basically a tribute to Detroit's techno movement.

Il singolo Universal Harmony fu il manifesto delle loro complesse armonie.

76:14 (Dedicated, 1994) è costruito attorno a Obselon Mi-Nos (l'unico brano ad avere un titolo) e alla sua mania malinconica. Il loro stile, cosmico e minimalista, e comunque ultra- etereo, li pone subito all'avanguardia del movimento neo-ambientale. L'ottava traccia, quella più vicina alla musica cosmica tedesca, è stata riedita nel 1994 come Maiden Voyage. Diversi singoli del duo sono usciti sotto gli pseudonimi Jedi Knights.

Remotion (Hit It, 1996) raccoglie remix.

Pentamerous Metamorphosis (Dedicated, 1998) e` la ristampa di una sinfonia techno in cinque movimenti che nacque da un remix di Blood Music dei Chapterhouse.