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#61 | |
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Nonsense. Everyone with any recording device like a mini disc/pc sound recorder - editor etc can tape any songs off any website that streams them. Same thing you can do with podcasts that play bands whose records are more difficult to find just like kiddies used to do with the radio. |
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#62 | |
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#63 |
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Glitch is the future.
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#64 | |
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#65 | |
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Mouthus Lamborghini Crystal |
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#66 |
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xiu xiu formed in 2000
they fucking rule.
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#67 | ||
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I decided to pick this particular post to quote in and amoungst all the guff that's been spread in this thread. There was a 'N Sync record at the arse-end of last century with a glitch section. Pop music has been pillaging electronic(a) music for at least 15 years. There was an Aphex Twin song on a car advert, and a mobile phone advert, in the mid-90s. Listen to any TV soundtracks, and any TV adverts - electronic music is as, if not more, mainstream than 'rock' music. Electronic(a) music hasn't been new or radical (as a means of producing sound) in properly mainstream popular culture since they started using electronic instruments for background in adverts (i.e., sometime around the early '50s). There's this common idea in rock fans that electronic(a) music is somehow entirely distinct from rock/ pop music, and it's confused me for a while now, because 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. Also, while I'm about it - there's an awful lot people around here who really need to sort their ears out. T&B hit the nail on the head saying 'Battles are Tortoise with math-rock' except to mention that Tortoise are pretty much responsible for the 'genre' (such as it is) of 'math-rock'.
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#68 | |
expwy. to yr skull
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I think this. I sent a project that I had abandoned to my friend that does glitch and he should yield some results soon. Here's his myspace page: http://www.myspace.com/timothyduffie |
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#69 |
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There's gonna be glitch pop soon. And glitch rock.
Everyone get your bit crushing pedals and octave boxes! |
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#70 |
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Erm......
Even Eve made brilliant use of an AFX influence on one of her songs. |
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#71 |
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what is "glitch?"
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#72 | |
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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. |
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#73 | |
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anyways
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RETIRED |
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#74 |
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That's been written by an American for sure.
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#75 |
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And I didn't even read it all.
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#76 |
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atsonicpark
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#77 |
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Scissor Shock.
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#78 | |
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He is?
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#79 |
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how odd that that shit on wankipedia fails to mention Pole.
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#80 | ||
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My first solo record is probably going to be mostly bluegrass and jazz with smidges of free improv. So the future is clearly 50 years old (although the futurists might have something to say about it). FOR FUCK'S SAKE YOU CLOTH-EARED RETARDS, ELECTRONIC MUSIC IS NOT A NEW THING.
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