Is Glitch Dead?

[CypherOne]

the jealous dig at dblue almost goes unnoticed amongst all those options

[aMUSEd]

origami is the future.

mmmm - with a little pasta, maybe some tomato's......

[spacefox]

Well, it isn't a proper genre if someone hasn't claimed it's dead.

@CypherOne: I detect redundancy in your sig.

[.jon]

I think the glitch sound elements are to stay in electronic music. I find them absolutely wonderful when used in a musical context.

[mckenic]

Great thread! Some of my favourite musical people posting in here

I gotta say one of the best quotes Ive seen this year is also here:

All I can say is: enjoy the artefacts. They are beautiful.

Glitch dead? I dont know and I dont know that it matters to me personally... Ive not got the sounds I hear in my head out yet - but the closest Ive come to hearing others doing them is listening to Jack and Rachmiel... It took me 6 months of listening non-stop to Pet Sounds to understand WHY I liked it... It took much longer listening to Timeless to understand it was the stark digital coldness and brittleness that fascinated me... it takes a bit for me to understand in the context of my own headnoise if that makes sense

That we are even having this conversation is very warming to me - how can it be dead when were beating on for five pages already - with no end in sight

I dont know the music I hear in my head but the closese Ive ever heard is when I hear others doing stuff they define as Glitch... there is a tiny pool of applications I can use to get me closer to my headnoise - this is both fascinating (in terms of getting closer to where I wanna be) and disheartening in that if you folks stop doing what your doing it would cease to push me closer to where I want to be musically. Thats not even taking you guys feelings into account - how frustrating it must be for software and tunes to slip under SO MANY radars...

So NO glitch cant be dead or uninvented - formulaic anything is staid, stagnant and depressing for a creative mind to listen to. The artefacts are beautiful.

Dave

[foosnark]

What is called "glitch" is an approach, a method. What Kim Cascone called "the aesthetic of failure".
As new technologies appear, so do the mistakes/errors that come with these technologies. So does exploiting these.

All I can say is: enjoy the artefacts. They are beautiful.

Nicely put. I think that glitch's biggest contribution is the sonic palette, more than it is the form.

A lot of what gets called "glitch" here (in terms of plugins at least) is more Warp Records than Mille Plateuax "clicks and cuts".

I agree with what was said about shock value. Get past the initial hurdle and there better be more to it than that, or it's not worth listening to again. Too much chaos becomes noise, or a kind of deconstructed drone. I'm more interested in the reverse process really. A piece of music should be poetic or dramatic, not just zur39gznfizl43t8zi9cvzx.cv93223.zxcvoapb.

But I could listen to Tetsu Inoue, Microstoria, Mormo or (honestly) some of my own Falls A Star work all day and it would still be fresh -- even though that's a genre that is arguably not experimental anymore.

I almost like microhouse -- it's the "house" part that bores me. Different sounds, same old lockstep 4/4 based on the DULLEST RHYTHM EVER. At least in many cases. Others call themselves microhouse or microhop or micropenis or whatever and manage to be creative and interesting.

[JackDark]

>waiting man

there's no shame in the NutSeq game! i love that plug insanely -- one of the top 5 best SE plugs ever. i just used it as the source material since the actual point of that clip was the molestation of the source material, not the source material itself. the little synth part though came from something i made, so neh. :p -- your other question, i would say that Glitch is not only a method, but also a way of creating new sound source, so it goes both ways, but only one way first.

>DWb

my sentiments exactly.

>intel

thank you for your advice but i assure i'm not actually worried about the fads insofar as my "new and serious musical endeavors" are concerned, none of my current serious experiments have anything glitchy whatsoever. but Glitch as whole, as a once-movement, is that movement really over now? that's what i was wondering. and this was no ruse to get people to come out and "kiss my ass" because anytime you try something like that as a dev you find out just how many people actually hate you.

>opia
>CypherOne

dBlude's Glitch? is it the ne plus ultra glitch plug? yes. but is it also a one trick pony? yes. is it blatantly obvious when it's been used in a track? yes. Glitch is the king of what it does, but that's all it does; i can't compare it to everything i've made, even Motile. because dBlue's Glitch is so limited in its scope. but i'll tell you in all honesty i use my own ShatterShot-Lite more often than any other glitch plug... but i will also say that dBlue's Glitch kicks an extreme amount of ass at what it does and deserves every bit of attention and praise it has ever received.

>mckenic
>foosnark

Yes, our current artefacts are beautiful.

But for a person like me, the exploration to find new artefacts is even more so.


You know, I remember when Dr. Dre said gangsta rap was dead. Then No Limit Records came on the scene and picked up where he left off and made fuckjillions of millions (Income (85 % of interest) (1996-1998) : +250 million$), because at that point, everybody new what gangsta rap was, and they were all waiting with wallets wide open.

[mayan]

I entirely agree with the comment about the sonic palette. In art or enjoyment, it's not about the "genre"...it's about the tools one is using. Why not have as many "colors" for the palette as possible?

Theloniious Monk was once considered the most outre of the "outre" - at least in jazz...now, his work is considered by many to be standards. Similarly, all of these "genres", techniques, etc. have entered the popular stream on some level. Even if "glitch" as a genre disappears, that doesn't mean that all that went into making a glitch piece hasn't entered into the bloodstream of the public aural system. I hate "genres" at any rate. Who wants to only make music in one genre? Or wants to refrain from using elements found in a "genre" because they don't want to be associated with such a form of music?

Jack Dark, when I get my web-page up and running...hopefully this weekend or VERY SOON thereafter, you will hear all sorts of glitch-informed stuff tied in with melody, noise, orchestral, etc. I love it! Most of my pieces, these days at least, are composed, in part, from thousands of little fragments of sonic goodness.

[androidlove]

is this the glitch support group? i've noticed a lot of links to glitch audio and plugs. however, i have no link to my plugs or glitch to offer. have you tried the dblue plug? i hear it's the best glitch plug out there. it's probably all you'll need

[JackDark]

have you tried the dblue plug? i hear it's the best glitch plug out there. it's probably all you'll need

Who is this dBlue you speak of? What is this glitch you speak of? I'm scared.

Lick me?

[Lunatique]

I personally feel that any genre with a focus on a specific production technique is way too limited. It also doesn't make sense to me that so many people limit themselves to just one specific genre--or even a sub-genre of a genre. The world of music is so rich and complex and varied--limiting yourself like that is like limiting yourself to only paint with two colors when you can paint with all of the colors in the world.

[Z3R0T0N1N]

re: dblue glitch - "blatently obvious" - that is perhaps true if all you do is load it up, fill the sequencer with "?" and press play. That is not how to make it really shine though. You (i think) are also making the assumption that it would be placed on drums: again, try it on a soft background noise, like an e-piano

and most importantly, explore the parameters of the different effects; This plug is a brilliant piece of kit, and is only obvious if used in an obvious way. Like anything.

anyway, if one glitch plugin is somehow not valid, then i would argue very few are. I mean, one could reasonably say, then, that anything less than PureData, Csound, or ChucK is "just add water". If you aren't circuit bending to get those sounds, you shouldn't be making those sounds. or any number of blinkered, elitist twaddle that has no relevence to actual art; no bearing on what beauty means.

(not that i am accusing you of that, but i do feel you might do well to look closer at dblue glitch, or at least at what makes you feel such disdain for it )

[JackDark]

Jack Dark perhaps doesn't appreciate dBlue Glitch and or hates it/jealous of it.

I've said I think three times already in the course of this thread that dBlue's Glitch is wonderful, and is the best "pure glitch" VST out there. I am full aware of what it is capable of. But you should realize that 99% of people who load it up just hit the "Both" randomize button over and over = very trademark noticeability.

[Z3R0T0N1N]

ah.
my mistake then

i like to use it on pads, personally

[aMUSEd]

What is called "glitch" is an approach, a method. What Kim Cascone called "the aesthetic of failure".
As new technologies appear, so do the mistakes/errors that come with these technologies. So does exploiting these.

All I can say is: enjoy the artefacts. They are beautiful.

Nicely put. I think that glitch's biggest contribution is the sonic palette, more than it is the form.

I've always been interested in the "aesthetics of failure" going right back to poetic experiments and particularly ceramics (influenced by Raku techniques) and much of my artwork and painting is directly influenced by that aesthetic (see my non digital artwork on my website for examples) - all this way before I got my first PC and started making music with it. But the thing about say Raku is that the flaws that nature and chance combined with craft throw up are explored as an intrinsic part of the creative process. I tried to do something similar, for example in a piece called "Bunglesome" where I was having to learn how to play keyboards after a hand injury (and several reconstructive ops) and the errors I made while recording my efforts I used as stimuli for new paths to explore - rather than rejecting the failure and trying to make something perfect I wanted the failure to be part of the end product because it was an inextricable part of the creative process and struggle itself.

However I think some of what seems to be referred to here as "Glitch" is not so much an aesthetic of failure as an attempt to "Raku up" otherwise normal creative efforts. For example I've heard fairly ordinary dancy or punky music that uses these "artifacts" as a sort of background effect (much as I like her Bjork does this too on Homogenic and it annoys me somewhat). Similarly I would use a plugin to generate chance or semi chance events as material I could respond to aesthetically and follow the paths it leads in (to throw in a spanner one might say) - for example I've used DFX Transverb in many Piano pieces where I've allowed it to throw in a spanner and then used that as material to respond to musically - like a conversation, and on other occasions I've set up chance events like a random startof recording and cutoff point during a performance to "frame" the composition - but I would not use something to just "Glitch up" a piece or part of a piece after the event or even while producing it if there is no interaction between those events and my creative process. TBH that's why I've been a bit wary of some of the plugins mentioned here - it is the "dialogue" and dialectic between nature (and chance) and creator (or performer) that is key in such an aesthetic, not a particular sound or effect.