glitch

[mms]

and that was exactly my consciously slight taxonomic distinction that would separate autechre from say fennesz, and that you disagreed with? ;p

already the derivatives of glitch (eg some michrohouse and the first two prefuse 73 albums) are very interesting and hopefully the aesthetic of microediting things that sound chaotic will continue to filter further into pop and create things probably more interesting (even!) than late 90s mille plateaux

is glitchreally just microediting though?
not sure, as prefuse is more like todd edwards hiccuping and burrying applied to hip hop tracks, glitch is noise afterall, and there isn't much noise in p73.

 

[foret]

yes it does but it has since stuff like force trax etc.

but as a central piece, esp with physical stuff like oval or noisier stuff like yasuno tone, even philip jeck, hecker etc it still stands up as a really good centrepiece.

glitch was a massivley overused word, just used to describe any electronic music by lazy journos for a while.

agreed x2 the co-option of the term by thick fucking guardian journalists to refer to warp/rephlex stuff was why i slightly query its use to describe autechre

is glitchreally just microediting though?
not sure, as prefuse is more like todd edwards hiccuping and burrying applied to hip hop tracks, glitch is noise afterall, and there isn't much noise in p73.

no p73 isn't glitch, but the tiny vocal cutups and chaotic (in the secular sense) sampling is _like_ glitch, coming from it in some way

When I first read this thread, the only thing that gave pause was the 'revival' aspect. I would have thought that glitch had been absorbed in different ways by many different genres and production styles, and so was present in new ways and not necessarily in need of revival? In any case, if you'd like, foret, I've got an anthology of glitch-like tracks that Philip Sherburne compiled for a musicology journal in 2003 that I could send you (entitled 'splitting bits, closing loops: sound on sound'). It has things like Stephen Vitiello, Steve Roden, Insitut fuer Feinmotorik, M. Behrens, Scanner, DAT Politics, Stephen Matthieu, Francisco Lopez, Alejandra & Aeron, etc.

Also perhaps worth mentioning, though he's way beyond glitch: Curtis Roads, one of the pioneers of granular synthesis, a composer and prof, who has made some challenging electronic music. I mention him b/c autechre invited him when they did ATP, and I don't see him much mentioned anywhere outside of academic music discussions

thanks, the tracklist is cool but i know most of that stuff, curtis roads looks good too

 

[swears]

Interesting article on glitch from 2000:

L I N K

 

[DJ PIMP]

autechre aren't glitch i think

they're supposed to use algorithmic programming to get some of the seemingly chaotic rhythms on 'confield' etc

An interview with some insight into their process here: http://www.soundonsound.com/sos/apr04/articles/autechre.htm

 

[D84]

I got into this genre heaps in the late `90s etc. Computer music is probably a better term but glitch is easier to type.

I second the Fenn'O'Berg albums, Oval and the Jega Geometry album.

I'm surprised that no-one's mentioned Farmers Manual whose releases were pretty out there, classic stuff. They had some glitch-y dnb going too..

Also influential is Coil vs ElpH Worship the Glitch which some blame for the name.

Some of Atom™'s stuff could be termed "glitch" with releases like Dos Tracks' and Hard Disk Rock as well as the glitich-y last LB album Pop Artificielle.

Pimmon also does some great glitch stuff.

Lastly a close personal friend of mine (ahem) did a compilation called Communication Problems which featured a lot of glitch-y stuff well worth checking out (the Köner track is amazing).

 

[michael]

Regarding defining the sound, "glitch" is one of those things like "breaks" - if you're going to get technical most of the artists described don't actually use the thing described (technology errors / breakbeats). I reckon Mille Plateaux's "clicks and cuts" tag really gets to the core of what you actually hear and what people tend to use as a reason for labelling something as glitch. ("Are there crackles? Is it stuttery and disjointed? It's glitch!")

I always thought a good example of the glitch aesthetic crossing over was that BT produced N*Sync single, 'Pop'. I thought we were going to get waves of that kind of mayhem (seemed like a successful enough song?) but it didn't really happen.

Oval and Fennesz have really caught on because they use pretty accessible tonalities - the big Oval album ('Systemisch') would be a much harder listen if the harmonic content was all dissonant and nasty and even on 'Hotel Parallel' Fennesz lets some lush chords come and go among the harshness.

Of the beatless stuff, I'd totally recommend Microstoria's 'Model 3, Step 2'. There's somethign about Microstoria that makes me think of really old synth experimentation like the Forbidden Planet soundtrack or something. Strange sense of tone and a I get some kind of vibe of playfulness in there. Maybe the latter's just knowing that one half is in Mouse on Mars...

 

[michael]

Some of Atom™'s stuff could be termed "glitch" with releases like Dos Tracks' and Hard Disk Rock as well as the glitich-y last LB album Pop Artificielle.

Yeah, I was quite a fan of what he was up to around this time - I'd say Dos Tracks , Schnittstelle and Bund Deutsches Programmierer mine this vein pretty deeply, but I was actually more excited by the Los Sampler's album, which is traditional Cuban music chopped and diced. The trope is that Los Sampler's are an 8-bit sampler orchestra from Cuba...

More recently he did a remix of an Emiliana Torrini song, 'Sunny Road', which is her singing a sweet song accompanied by an acoustic guitar. Atom™'s edited the guitar so it often stutters and stammers, buzzes, etc. Sounds like drop-outs when you're listening to streaming audio or talking on Skype. It's a good example of how the glitch aesthetic can be applied quite subtly to really straightforward material - the buzzes and clicks are always leading into the start of the next phrase, so they act like drum fills, and the amount of madness ebbs and flows.

 

[Norma Snockers]

Interesting article on glitch from 2000:

L I N K

Nice, I sort of knew the links before but that made it really concise.

 

[swears]

The whole clicks 'n' cuts/glitch sound was bound to happen sooner or later, the software was available and the possibilities were obvious. It's not like somebody brought out a seminal record, and everybody followed that.

 

[simon silverdollar]

some of kid606's early work is really lovely glitch-based stuff. particularly recommend the split 12 he did with christophe de babalon on Fat Cat. he was doing very purist glitch stuff then- literally pulling leads out of samplers to see what would happen.

 

[nochexxx]

Can anyone recommend some more melodic glitch stuff?

any lesser known stuff in this vein you'd recommend?

I recommend these records

STEPHAN MATHEIU & EKKEHARD EHLERS - Heroin + Remix
(lovely reed organ sounds digitally processed)
http://www.boomkat.com/artist.cfm?a=5027


Oren Ambarchi - suspension
(electric guitar based)
http://www.sleepbot.com/ambience/album/suspensn.html

andrew coleman - demons
(acousitc guitar sounds glitched up)
http://www.boomkat.com/item.cfm?id=15798

i've a free digital glitch up release here.
http://www.tripelrecords.com/releases/ascoltare-giving.php