Sparklehorse + Fennesz- In the Fishtank 15 (2009)

Indie rock namesake Sparklehorse, led by the late Mark Linkous, and glitch artist Christian Fennesz combined their disparate sounds to an amazing effect for this installment in Konkurrent’s Fishtank series. 

Nicolas Collins - Devil’s Music (1986)

Nicolas Collins - Devil’s Music (1986)

“Devil’s Music” is possibly the first glitch album, and one of the best. The way the samples all bounce off eachother and create a symphony of sound is fantastic. How was such complex music created at the time? From Collins’ website:
“...It developed in 1985 out of the confluence of my fascination with early Hip Hop DJs, a Cagean love of the splendor of radio, the introduction of the first affordable, portable samplers, and a simple home-made “stuttering circuit” (inspired, perhaps, by my years as a student of Alvin Lucier.) In Devil’s Music, the performer sweeps the radio dial in search of suitable material, which is

sampled in snippets of one second or less. These are then looped, layered and

de-tuned. The stuttering circuit “re-rhythmitizes” the samples by retriggering

and reversing the loops in response to accents in the rhythm of the ongoing (but

usually unheard) flow of signal out of the radio.”

“Devil’s Music A” is based mostly on dance stations. “Devil’s Music B” is based more on easy listening and classical stations.

This 2009 reissue also includes 3 bonus tracks: “The Spark Heard ‘Round The World’”, a tape piece, and “Real Landscapes” (live recordings of the album’s European tour) parts 1 & 2. OUTDOOROUTOUTDOORSWIMMINGPOOLSOUT

Food For Animals - Belly (2008)

One thing I love to see in Hip Hop is an incorporation of Noise or Industrial music to the production, unfortunately acts like those seem so few and far between. Groups like dälek will be remembered for their brave and caustic production, and there are more newcomers like clipping who are trying to forge a name for themselves with frantic Harsh Noise being incorporated into his music. Food For Animals is another one of those rare bands. They are a Noise-Hop trio from D.C. who released their first, and as of now only, full length album in 2008.  Their tendency to incorporate Glitch and Harsh Noise into their Hip Hop creates a really stunning sound.

Radicalfashion- Odori (2007)

Under the name Radicalfashion, Japanese pianist/programmer Hirohito Ihara crafted a special album that was simultaneously both unassuming and wildly inventive.  Combining glitch, neo-classical elements, simplistic piano, and musique concrete, Odori is a quick 30 minutes that floats from one idea to another, effortlessly shifting from carefree to contemplative to profound. 

AGF - Source Voice (2013)

There is perhaps a peculiar honesty to the human voice which has nothing to say - in the age of unspeakable horrors what truth is there of suffering than the pain of its incommunicability? The message, the content, which, under the weight of overdrivven fog, cannot even begin to articulate itself without being smothered, was the genius of How to Dress Well's Love Remains. But what is the result of content stripped of any content? What remains of the voice in this instance is the substrate of material suffering that Roland Barthes recognized as the "grain of the voice" - not just the texture of the voice, but also the material and historical body's instantiation and continuation as the voice. The grain of the voice is the texture is the voice below the level of semantic content (the "phenotext" versus the "genotext") and as such is the body materializing itself in and as voice. Adorno has located the material body, below the indentitarian perversions of rationalization, as the true site of suffering. Then the grain of the human voice - in its crying out as suffering - is the substrate of the substrate of suffering. It is the material imprint of suffering that will not even rise to the level of language's symbolic (and hence dangerously instrumental) rationality.