Originally Posted by Glice

A lot of electronic music is still a sausage-fest, mind you. Autechre patch-fetishes are nearly worse than a million-paged thread about effect pedals.

Well, in that case, have you noticed how the majority of Authecre's fans seem to be white males into rock music?

A gross misconception about music produced electronically is that it is often only repetitive and it hasn't got soul. Generally, as usual, these are accusations thrown by the short-sighted bigot, way too often male and white.

[viewtiful_alan]

Music goes in circles. Nuf said.

Originally Posted by viewtiful_alan

Music goes in circles. Nuf said.

When people say that (hello Alan McGee etc), I feel like cutting off their tongues.

[Cantankerous]

you know, when you don't explain yourself or provide a platform for your argument, statements you make retain no validity and make you sound like a bandwagon jumper.

(not directed at porkyu)

[atsonicpark]

music goes in squares.

[Rob Instigator]

Originally Posted by SpectralJulianIsNotDead

Glitch (also known as clicks and cuts from a representative compilation series by the German record label Mille Plateaux) is a genre of electronic music that became popular in the late 1990s with the increasing use of digital signal processing, particularly on computers. The origins of glitch music are derived from the failure of digital technology. The effects of failure in technology, such as bugs, crashes, system errors, hardware noise, skipping and audio distortion, can be captured on computers and provide the basic building blocks of Glitch music.[2] Often considered a sub-genre of electronica or intelligent dance music, glitch eschews traditional instrumentation, preferring instead the use of mechanized and non-natural sounds. Though rhythm is a central focal point of glitch, the style's various sub-genres range from the ambient to the dance-oriented. [3]


Glitch is often produced on computers using modern digital production software to splice together small "cuts" (samples) of music from previously recorded works. These cuts are then integrated with the signature of glitch music: beats made up of glitches, clicks, scratches, and otherwise "erroneously" produced or sounding noise. These glitches are often very short, and are typically used in place of traditional percussion or instrumentation. Skipping CDs, scratched vinyl records, circuit bending, and other noise-like distortions figure prominently into the creation of rhythm and feeling in glitch; it is from the use of these digital artifacts that the genre derives its name. However, not all artists of the genre are working with erroneously produced sounds or are even using digital sounds.




The overlap between glitch and shoegazer music also includes some artists that have moved away from the song structures and defined beats mentioned above, favouring more ambient forms. The general shoegazer style of pop rock melodies buried under layers of reverberation and distortion is combined with the precise programming capabilities of digital signal processing. Fennesz and Tim Hecker are two notable artists that have received critical praise for their compositions done in this style. The looped constructions of lovesliescrushing, from about 1992, demonstrated a pre-glitch sound. Later, in 2000, the band ventured into the computer realm by translating their signature four track guitar damage into an iMac to produce glissceule and voirshn, dubbed glitch bliss. The duo Belong has also released music of this nature. In addition to comparing them to other ambient or electronic musicians, reviewers and fans also tend to mention the similarities to My Bloody Valentine (arguably the most highly regarded band of the early 1990s shoegazer movement). The primary point of similarity is the emphasis placed on the texture of the music; it appears to play as important a role as the melodies themselves. Also, see Labradford, The Night Owl Cafe Killers, or Little Glitches for similarly ambient/glitch sounds.

so much music around, and so little time.

and hey cantank, I have no beef with electronic music as a musical idom, I just HATE boring monotonous house music, fucking electronic background music. it makes me ill. I want my music to grab me by the balls and shake me until I give in.

[Rob Instigator]

Originally Posted by sarramkrop

Americans don't get futuristic-sounding music too well, stop deluding yourselves.

\maybe not, but we can out rock any other nation at the drop of a fucking HAT

[atsonicpark]

Almost every band listed in that glitch article is amazing, by the way.

Originally Posted by Glice

This is a good point - women in rock are often decoration, or at least masculine in their femininity. I know people hate le Tigre, but I really admire how they don't perpetuate instruments or 'musicality'. Same with Chicks on Speed, who make no apologies for liking fashion (and why not?).

A lot of electronic music is still a sausage-fest, mind you. Autechre patch-fetishes are nearly worse than a million-paged thread about effect pedals.

With a lot of electronic music I just happened to notice that women tend to come to the fore a lot more, and also they tend to be more.....women. That means that, say, Kelis can make a form of slightly edgier pop while still being able to look after the way she dresses and maybe occasionally have a hit, while still being listened to by certain guitar music dudes that don't feel challenged by that sort of mild female otherness in their musical experience.

I'm not saying anything new or revelatory here, but in a full-on rock music enviroment a woman would have more trouble expressing herself and being taken seriously unless, in a way, she doesn't get an attitude of some sort, and one that falls within the parameters of what's considered real and entertaining in rock music. Or else she becomes, like you pointed out already, an ornamental and mainly silent creature, put there to be impressed, shown off or possesed by her male lurers, often with a tamburine in her hand or an intense song to sing.

Again, I am generalising, not all rock chicks experience that.

Originally Posted by Rob Instigator

so much music around, and so little time.

and hey cantank, I have no beef with electronic music as a musical idom, I just HATE boring monotonous house music, fucking electronic background music. it makes me ill. I want my music to grab me by the balls and shake me until I give in.

Is that why you like They Might Be Shite?

Originally Posted by atsonicpark

Almost every band listed in that glitch article is amazing, by the way.

Even the ones that have got fuck all to do with glitch.

[Rob Instigator]

Originally Posted by sarramkrop

Is that why you like They Might Be Shite?

just their first three records, when it was them two Johns and drugs and a beat box.

[atsonicpark]

Yep.

[Glice]

Originally Posted by sarramkrop

Is that why you like They Might Be Shite?

I query your use of the word 'might' - remember, that suggests an element of doubt.

[Rob Instigator]

heeeeeeeeee's a hypnotist

a hypnotist of ladies....

Originally Posted by Glice

I query

Queer.

Originally Posted by Rob Instigator

heeeeeeeeee's a hypnotist

a hypnotist of ladies....

Nah, Rob, it's more likely that he's just a twat.

[Toilet & Bowels]

Originally Posted by Glice

I've never known anyone in the hip-hop/ dance scene who didn't listen to a lot of rock/ pop music - or better, who wasn't comfortable with 'real' instruments.

really? they're as bad as anyone else in my experience. go and read this if you want a quick glimpse of the dance music equivalent of certain posters on this board. except that bgoard is far more vexing than this one.

http://www.dissensus.com/showthread.php?t=6343

[atsonicpark]

I want to see a band do really creative, theatrical albums based on the bible. Every album would be based on a book on the bible. Somebody get the Residents on this.

[atsonicpark]

Here's some stuff I'm working on or have ideas for my music in the future:

- An album with 1000 guitar tracks on every song.

- An album of organ melodies that are recorded to computer # 1... then another computer # 2 records the sound of the organ melodies coming out of speakers of computer # 1... then, computer # 2 records the recording... and back and forth... It's like that "I'm sitting in a room and this is the sound of my voice" experiment, wherein new echoes and frequencies will develop from recording the sounds from different sources (or perhaps in different rooms) continuously.

- Me and my bandmate Booe recorded an acoustic guitar/trombone 10 minute song last summer while fucked up on codeine. Going through his old computer, we recently found it, and we listened, and man... we have gotten so much better at our instruments since then... still, it's a really creepy, hissy recording.. very quiet and minimal and lonely... it's good shit. So, we recorded another 10 minute song. The plan is to record a new 10 minute song once every summer, for 8 years, then release it (overburning alert) as an 80:00 minute cd... it'll be interesting... because every track is just trombone and guitar.. you can see our techniques developing and see how we approach this improv/minimalism over the course of 8 years...

- Speaking on that theme, an idea I have that I haven't explored yet is to make electronic songs.. no effects used whatsoever, and only 5 different samples (a couple drum sounds, a bass synth, and a regular synth). The idea is to do a different drug and then give myself an hour to record a song with only those 5 samples/sounds... to, again, see how wildly different the results could be, which could partially be influenced by the drug I'm taking. This idea is more aesthetically pleasing than something I think will actually be of quality, but it'll allow me to think about things differently.

- Another album I want to do of organ melodies, encoded in the lowest bitrate possible, copied to tape, then re-ripped to computer, back and forth, back and forth, until it's the 10th time I've recorded over the same melodies on the same tape.. you can hear the tape breaking up and the ghost sounds of the old organ recordings, since the syncing will be off... then finally when the sound is about to break, I'll put it back on the computer.. it'll all be one big track, and I'll keep pasting the sound of the tape to the track, until the last minutes of the track will be from the 10th time I've recorded onto the same. So, you'll hear the sound disintegrating -- yes, like William Basinski's "disintegration loops".