The High Priest … the sonic chopper 
…makes everything hiccup magnificently.
You’re definitely right, but I guess for me there’s so much other stuff going on in this tune it’s not about that sound the way Diskont 94 is about the skipping CD sound.
Yeah, but past that I could say ‘Classical’ and hand you a Mozart opera or a Steve Reich piece, and they are definitely totally different types of music. I think genres are the most useful when they are a bit specific - Classical is useless, but so is post-vaporwave synth punk. It’s like saying ‘I live in Boston’ is probably useful more often than ‘I live in North America’ or ‘I live on Wrentham St’.
Or like when you meet someone who says ‘you like electronic music? you should talk to my brother, they’re really into it too’, and then you find out they’re hardcore into Moombahton and you do ambient and don’t actually have anything in common musically except the tools you use.
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Heavy use of 
here :
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SND
Mika Vainio
Errorsmith
Autechre
So
Ryoji Ikeda
Kyoka
Oval
Mokira
Aoki Takamasa & Tujiko Noriko
Kouhei Matsunaga (Koyxen)
Alva Noto & Ryuichi Sakamoto
(These are tracks with a glitch aesthetic rather than being part of the particular genre, or even specifically using glitch processes - albeit a lot of them do, or have been inspired by it. More about expression, less about technicalities. In any case, all of the artists have at some point exploited malfunction (ie glitches) in their compositional process)
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Totally depends which Steve Reich piece you hand me. Hand me ‘Come Out’ then sure - hand me ‘Tehillim’ and not so much.
Nitpicking, obviously, but my personal view is that classifications in music are useful and that I would be fascinated to hear of a piece of music someone regarded as beyond classification - in the sense that you couldn’t give an advance idea of what it sounded like.
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Really like your stuff,
Thanks for sharing.
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