Who r the best GLITCH artists?
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Stupid American Pig Stupid American Pig https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=4753 - KVRAF
- 7065 posts since 25 Nov, 2002 from not sure
Forgive me here, as I am ignorant to the "glitch" genre. So am I to assume its a bunch of syncopated/granualized beats? that would prolly give me a stroke if I had to listen to it for extended periods of time.
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- KVRAF
- 8072 posts since 9 Jan, 2003 from Saint Louis MO
http://subsol.c3.hu/subsol_2/contributo ... etext.html That's "the" article on glitch music.
There's an interview with Reed Ghazala where he's asked about glitch, and talks about Suminigashi (Japanese paper marbling) as a kind of glitch aesthetic... capturing chaotic stuff that happens as a natural process. Glitch music is like that, but with the laws of code and memory buffers and such rather than chemistry.
For me it's sort of finding what's "natural" about the tools/medium and working with that. It's not really accidental, so much as representative of what machines do. If you want to figure out what a black box does you try all kinds of input; the output is revealing, not "wrong."
It's not necessarily beat-oriented; rhythm often comes from the process of reinterpreting buffers in the wrong way, making CDs skip (thus creating rhythm from the repetitous pattern of skips across the circular surface), using loop points unrelated to the source material, etc. Take a look at glitchbrowser and you can see that kind of "rhythmic" disturbance in JPGs due to their block compression format: regularly spaced transitions where things have been skewed.
A side comment at Disquiet.com said "glitch went from an experimental manifestation of technological unease to a kind of cozy comfort music" and that's about right. A lot of glitch is surprisingly pleasant on the ears.
There's an interview with Reed Ghazala where he's asked about glitch, and talks about Suminigashi (Japanese paper marbling) as a kind of glitch aesthetic... capturing chaotic stuff that happens as a natural process. Glitch music is like that, but with the laws of code and memory buffers and such rather than chemistry.
For me it's sort of finding what's "natural" about the tools/medium and working with that. It's not really accidental, so much as representative of what machines do. If you want to figure out what a black box does you try all kinds of input; the output is revealing, not "wrong."
It's not necessarily beat-oriented; rhythm often comes from the process of reinterpreting buffers in the wrong way, making CDs skip (thus creating rhythm from the repetitous pattern of skips across the circular surface), using loop points unrelated to the source material, etc. Take a look at glitchbrowser and you can see that kind of "rhythmic" disturbance in JPGs due to their block compression format: regularly spaced transitions where things have been skewed.
A side comment at Disquiet.com said "glitch went from an experimental manifestation of technological unease to a kind of cozy comfort music" and that's about right. A lot of glitch is surprisingly pleasant on the ears.
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- KVRAF
- 1817 posts since 1 Jun, 2003
well, i'm pretty certain COH for the most part actually fall fairly close to glitch aesthetic if not being spot on... certainly closer than to being warp or electronica with glitch elements. varying looping glitches explored over a span of time, all by themselves. at least most of his music is that way. 