Archive for the ‘Audio’ Category

Glitterbug – Far Far Light Remix EP

Monday, February 23rd, 2015


Almost 9 months after the international release of Glitterbug’s current and internationally praised album, Dust, out on Gold Pandas NOTOWN Recordings and Glitterbug’s own c.sides imprint, some Glitterbugs dear friends gathered to provide their interpretations of ‘Far Far Light’, one of the stand out tracks of the album.

Estroe, Biblo and Extrawelt each contribute their own interpretation of the mood and imagery of this particular track:

The original version of Glitterbugs ‘Far Far Light’ settles in a rather solemn mood, presenting the listener with deep bass lines, wet reverbs and sparse arpeggios. ‘Far Far Light’ is a hypnotic, dark and spellbinding journey across nightly streets and forgotten urban landscapes.

Extrawelt (of Cocoon and Border Community, to name just a few) fill raves and large scale clubs and festivals internationally, and that is for a reason. Their interpretation of ‘Far Far Light’ unstoppably creeps into the raver’s heart, soul and body, making the already dense original even denser and adding an ever evolving, powerful, dark and excessive atmosphere that keeps on climbing and building until the very last chord of their remix.

Estroe is no foreigner to the techno and electronica circuit either. The Dutch DJ and Producer, with a prolific history in both of her fields, has been a dear friend of c.sides and Glitterbug for many years. Her unique moods and the depth in her production, as well as the emotionality in her DJ sets and the music she writes and produces, is something that speaks a mutual language and shares similar musical vocabulary. Her remix creates a version of ‘Far Far Light’ that floats into a melancholic and partially gloomy, yet friendly and loving universe.

c.sides own Biblo, hailing from Istanbul and who just released ‘Absence’, her latest album, on the c.sides imprint, takes all the gloom and heaviness of the original track and adds her own sonic pallet, creating a dark and earth shattering interpretation of ‘Far Far Light’. Witch House meets deep dub techno meets eerie vocals meets Glitterbug. Prepare for a journey far down below.

Stream & buy on Bandcamp:

Inverted Audio publishes new Glitterbug podcast + long interview

Tuesday, June 24th, 2014

Screen Shot 2014-06-24 at 12.00.05Inverted Audio has been super supportive and very kind to my album. On top of all the lovely things they posted and shared about Dust, they asked me to record a new exclusive podcast for them, and they also did a super long interview. All of that below, or you pay them a visit read it all on their very pretty website.



1. Ezekiel Honig – Drafting Hindsight (Otherpeople Records)
2. Biblo – Mind You (AENTITAINMENT)
3. Ghostpoet feat. Lucy Rose – Dial Tones (Ritornell Rough Mix) (unreleased)
4. Fluxion – Celestia (Echochord)
5. Murat Tepeli – A2 (Potion001, new label of Prosumer and Murat Tepeli, not yet released)
6. Edit Select – Distant (Prologue)
7. Downliners Sekt – Silent Ascent (InFiné Music)
8. Austra – I Don’t Care (I’m A Man) (Domino)
9. Why Sheep? – Radiation 1 (Karesansui Surrounding Remix) (Third Ear Recordings)
10. Braids – Amends (Full Time Hobby)
11. Tangula – Imbalance (Diametric)
12. Mike Dehnert – Bar2 (Echocord Color)
13. Mary Velo – Silent Hill (Gynoid)
14. Seri (JP) – Switch In My Brain (Acidworks)
15. Sikøra – Diary Lowender (Rough Cut Records)
16. Keith Carnal – Prospect (Affin Records)
17. Glitterbug – Far Far Light (NOTOWN Recordings / c.sides Label)
18. Colleen – Everything Lay Still (Leaf Label)

Last week Berlin based producer Glitterbug released his new album ‘Dust‘ on Gold Panda’s NOTOWN imprint. We were so impressed with the album that we invited him to record a mix and discuss the album in detail.

“I wanted to make an album about remembrance and remains – both in a sense of people and things that were, stories of lives that were lived, the life that filled places before us, about urban shadows and leftovers of the things that were.” – Til Rohmann / Glitterbug


Thaaaaanks!!! Thankfully, the press has been overwhelmingly positive throughout. I mean there are always some reviewers that don’t really get it, get some facts wrong, make weird comparisons or just write poorly… but those are a total exception, and it’s been amazing!

The attention is definitely not bothering at all – on the contrary. You sit in the studio for a year or more writing an album, then you wait for the mastering, graphics and final product to be printed – during this long period, all the feedback one gets is from the label, a few close friends and collaborators, but it’s impossible to get a sense of how it will be received. That’s a super nerve-wrecking period. To then have your album released to the world and to see that people can relate to it, and specifically to read what they see in it and where it touches them is super rewarding. I am very grateful that Dust gets this much attention. Considering the amount of music that’s released every week, even in my little musical niche, I am unbelievable fortunate to have this many publications write and speak about it!

As far as letting that shape my music – no, not at all. In early Glitterbug years, when I was still a bit lost and didn’t really have a fully developed sense of artistic direction yet, I sometimes tried to make music that would sound more like this or that, just to be able to fit somehow and somewhere.

But during the period of producing my first album, ‘Supershelter‘, I realised that the only person I can be is actually myself (radical realization, I know…), and that I also can’t change who I am when I am making music. So, for the good and bad – even if I wanted to let public taste and opinion shape my music (which I absolutely don’t), I couldn’t. Being Glitterbug is my biggest stronghold and weak point at the same time, and there is absolutely nothing I can do about it.


Well, in a way it’s both a sequel to my previous album, ‘Cancerboy‘, and since I also conceptually wanted to do something that’s relevant for Notown, I also looked at Gold Pandas last album and took some of the notions of ‘Half Of Where You Live’ to take them a step further and to knit my own stories into the fabric. I wanted to make an album about remembrance and remains – both in a sense of people and things that were, stories of lives that were lived, the life that filled places before us, about urban shadows and leftovers of the things that were. That’s also where the album title, ‘Dust’, stems from.

Cancerboy, by the other hand, was an autobiographical album about life, death, sickness and me and my friend’s personal struggles with cancer. It’s actually an album that I wrote for dead friends, about the stories and experiences that will bind us together forever.

Dust peaks into the shadows and tries to catch a glimpse of what once was. We all have our own personal maps and memories of our surroundings, especially when we lived in the same place for some time. Just imagine the multitude of memories of all humans that once lived in one building, street, city, and try to put that on top of present life. This was the idea behind Dust.

The moodiness and visual qualities of my music for sure have their roots in my past- I was very sick for most of my childhood and definitely marked for my entire adolescence and adult life. I stood out as a very odd being, and I can’t say that I had a very functional family either (both my parents were artists and not very good at parenting, to say the least). Not being happy with your place in life, being an outsider in school (and so forth) pushed me further towards art and music and alternative forms of expression as well as venturing off to imaginary worlds that often felt more welcoming than the real world. I imagined very lonely places mostly filled with friends from the hospital times that passed along the way. I still feel very at home in these places, and they always shine through the surface of my music I guess. The listener can often feel that abyss underneath it all I suppose.


I started writing Dust when I was still living in Cologne, during my very last months there. I already had left my old studio (the lease had ended), and moved to an intermediate temporary place in a friend’s house (he had a huge 2 story apartment in terrible shape, and he didn’t know what to do with the top floor – so I made it into a studio for a few months), and then I moved to Berlin.

Finding a studio here was actually very difficult, and I was forced to build a basic, temporary studio at home, something I haven’t done in like 10 years or so, and I was reminded why. I hate waking up and to look at my workspace!! I then found a nice studio that I share with Murat Tepeli, one of my closest friends, and my long-term collaborator and one of my favourite visual artists (and humans) on this planet, Ronni Shendar.

So Dust is in fact a true studio album, there wasn’t much traveling involved, just moving studios three times along the process…. I’m sure all that packing, unpacking and moving was also an influence, as it forces one to also pack memories and re-examine places and their meaning.

I work on music pretty much in solitude. I’ve worked in band and ensemble contexts in the past, but it’s not necessarily for me. The fact that I sink very deep into the mood of my music makes me rather socially incompatible with most other humans during production times. So there wasn’t much else I did during that entire period. I also can’t really listen to any other music when I produce. So I’m not only thrilled to be back to social life, but especially enjoying discovering new music.


How can I tell you which my favourite is without upsetting the others? No, but seriously, I don’t really know. After I’m done with an album, it’s usually all a big blur and they all become one big blob in my head.

Tracks that stick out for me are ‘Far Far Light‘ for its simplicity, moodiness and minimalist production. ‘47th Floor‘ is a very special one indeed; more of a miniature rather than a full track, and it’s funny that you think that it sounds like Big Ben… I guess I haven’t been to London in too long, I had to Google the sound to remind myself the tonality (and that made me remember that my English teacher in school made us stand up before class and have us sing “Good morning Miss Klein – Miss Klein, Good Morning! In the Big Ben melody)… I also really love ‘The Stars Behind The Light‘ for its despair.


Well, we wanted to do something like this for quite some time, and I guess it was a logical step in the evolution of our labels and music to do this eventually. Derwin at first asked me if I’d like to do an EP for Notown, and I took the entire arm rather than just the little finger (can one say this in English?) and asked him if I could make it into an album… he had to say yes because he is one of the nicest and most polite people I have ever met! Just kidding.

c.sides is a lovely platform and I am super excited about further projects on the label. Up next is a split EP of Jasmine Monique Guffond aka Jasmina Machina and Turkish supertalent Biblo, and the next Biblo album after that.

But it’s also great to have new platforms for your art sometimes, and it’s very nice of Notown to lend me their stage for my music. To always release on your own imprint is lovely, but also limits you to preach to the same choir and to convince the convinced over and over. I hope that through Notown I am able to reach new people with my music that probably haven’t heard of me before, and that’s just wonderful.


Derwin and I met in a festival in Amsterdam in… I think it was in 2009 or 2010. It was slightly before Gold Panda went on that incredible sky-high ride of success with his music, and we were stuck in a backstage with some incredibly famous people that were annoying as hell and that we both tried to ignore. So there was us, intimidated by and totally uncomfortable with the situation, and we started chatting because that was definitely something we had in common, but we only introduced ourselves with our first names, not our artist names. Derwin then picked up the program and was like: damn, do you know if Glitterbug played already? I really wanted to see him! And I had to answer that yes, we were on yesterday, and hey, that Glitterbug, that’s me! That’s where our friendship started. We both don’t fit into that strange music business all too well, and we both always feel a bit like the odd ones in class. Which we are, I suppose. And that’s one of the reasons we love each other so much.

Derwin and I write and produce music very differently. But where we definitely meet, and in my opinion that’s the most important element in music, is in the mood and atmosphere. We are both quiet sensitive, melancholic and moody people, and that is mirrored in the music we make.


Oh, shooting in an all-outdoor setting during that period of the year in that area is not so easy, maybe even life threatening… temperatures can get below -20°C at night, with days hot and dry. There’s up to 40°C difference between day and night. Also, it’s incredibly dusty, and especially with film equipment, one has to be careful to not ruin it. Did I mention the venomous critters that live there?

We actually had a great infrastructure and could be out filming during daytime and come back to a warm wooden cabin in the middle of nowhere at sunset. Ronni has some family that lives out there, so we could actually make use of off road buggies to climb up dusty gravel roads into the mountains, and find out about hidden trails for the areas we wanted to film. It was a lot of work, lots of hiking, and lots of carrying equipment- but very rewarding to be able to work in such an incredible environment. And I totally love the outcome.


I wanted to have an environment as sparse of human life as possible, and no humans in the video for this particular track. It was clear we wanted to shoot Dust in a desert. Ronni had been to the area before, so she knew exactly where and what she wanted to film, and we had the best local guides.

Sadly, we are horribly overwhelmed with work and projects at the moment – but if you stay tuned for a little longer, there will be a second video for a second track of Dust sometimes soon… This time though, it will be strictly urban.


Well, that’s pretty hard to foresee. What I learned from the past few years is that one can’t and shouldn’t take anything for granted in this field – and I have no idea what the future will bring and how much I will perform, how big of a demand I’ll have or even if there will be any.

I try not to think about that too much and move on, make new music, work on the next album, release music by people I love and admire, and all else is not under my control really. But I love performing! Specifically live with Ronni on visuals, and also as a DJ. It’s an exhausting but rewarding experience, specifically being able to connect directly with an audience and being able to experiment with my music and see it in new light.


Well…. It’s just a studio I guess? I think that equipment is the least interesting, and sometimes can be a huge distraction from the core of it, the actual process of writing and creating music! At least that used to be the case for me- the most equipment hoarding I did when I was the unhappiest with my music.

But since you’re asking: I’m a total nut for good audio reproduction, so the first big and important part is proper monitoring. I used my Klein & Hummel O96 monitors for most of the production, but recently upgraded to the wonderful British ATC SCM25’s, which are the best monitors I have ever heard in the near / mid field range. My reference near fields are the good ol’ BBC designed LS3/5a’s, that I have both at home and in the studio, which makes A/B-ing and taking music to different environments a lot easier.

As headphones, I use the rather exotic Jecklin Float (QA), that’s an electrostatic model that originates in the 70s, and that to me is unmatched by anything in the market, at any price point. Those were especially important for the album since I had to move my studio several times and had to get accustomed to different, mostly very silly room acoustics- the Floats saved my life and a lot of time because I had a true and trustworthy reference, no matter where I worked and how obnoxious the room acoustics were. Amping for the passive part and the headphones (they do need a power amp) is done through vintage Quad amplifiers, particularly the 405, 520 and a pair of 510 (the latter I am very proud of!).

When it comes to instruments, it’s a blend of both digital and analog- I am rather pragmatic about these things. Important were a Yamaha CS15, a Cheetah MS6, Logic Studio, Arturia, a Korg Poly 800, a Jomox Airbase, a Roland 909 & Roland MKS80 (both not mine, but shared with Murat Tepeli), some Dave Smith stuff, a Waldorf Blofeld, a lot of little boxes and strange things from the past 40 years of music equipment… and Universal Audio. I have the UAD Apollo Quad and am terribly in love with it, and the UAD platform is basically all I use when it comes to DAW signal processing. I simply wouldn’t be able to afford the same sound with outboard gear.


Nothing too special here either, but it takes up a lot of space and has a lot of pretty flashy lights and knobs and faders as eye candy for the audience and to keep me busy: I do use Ableton as the main hub and sequencer for both midi and audio (but only for live shows, never in the studio), a lot of dedicated controllers, and some outboard instruments, like a Dave Smith Mopho, a Waldorf Blofeld, a Jomox M-Base, a digital sub mixer and some stomp boxes and external FX. I also use Universal Audio live on stage and have both a Satellite and a Laptop card with me on stage.


Glitterbug stems from the last film Derek Jarman made before he died of HIV. He is (or better, was) one of my most favorite directors and artists out there, and I loved both the name of the film as well as that it was such a personal collage of his life without an obvious narrative. My music is a lot like that I think – you have to grasp intuitively, rather than try to understand it from a rational viewpoint.

My musical roots are very versatile, but reach very deep into experimental music and contemporary classical music of the past 100 years, obviously a lot of electronic music of the past 30-40 years with a big crush on Detroit, and so forth… I think the mix I made for you guys reflects that a little.

My music is build upon mood, texture, emotion and tension; this is also something I always try to find in the music of other people. Be it Grouper, Meredith Monk, Bela Bartok, Terrence Dixon, Scott Walker, Julius Eastman, Olivier Messiaen, or of very current albums, I was very impressed with the latest of Karen Gwyer and Downliners Sekt – and this is just what immediately sprung to mind, the list is endless- I buy a lot of music, I listen to a lot of music, and I am sure that there are a lot of indirect influences of all these records that I have listened to throughout the years. I actually don’t work with sampling a lot, but in an indirect sense, all this music has travelled with me and influences me, even when I am not aware of it.


The mix spans across quite a few musical directions – it combines friendly ambient (Ezekiel Honig, Colleen) with abyssal experimental music (Biblo, Why Sheep?) and melancholic dub (Downliners Sekt, Fluxion, Mike Dehnert) en-route to a short excursion into hip-hop remix contests (Ghostpoet’s Dial Tones with a lovely remix of friends that obviously didn’t win), and every now and then, it reaches out to old school acid (Mary Velo and Seri (JP)), good ol’ techno (Edit Select, Keith Carnal), the essence of hard-as-a-nail downtempo Avant-Schranz from Frankfurt (the first Sikora-release in years- and what a track that is!) and incredibly deep techno (Murat Tepeli, Tangula, and my own Glitterbug self), reaching out to some of the most wonderful experimental-ish pop I know (Austra, Braids).

Or to say it in one sentence: it covers a lot of music and moods that I love from the bottom of my heart. In approximately 80 minutes. And to me, none of these tracks are contradictions, and I think they all make perfect sense together.

It sadly doesn’t reach gender parity, but at least it’s 1/3rd female producers in there. It’s a start. The set was recorded ‘live’ in one take, using two Technics 1210 and a vintage Dateq XTC mixer. For tracks that I don’t have or that don’t exist on vinyl, I use one of those silly DJ programs with vinyl control.

Glitterbug’s new album ‘Dust’ is out now. Buy a copy of the album on vinyl, CD or digital via Bandcamp and iTunes.

self-titled mag from Brooklyn with track-by-track commentary plus full stream of Dust

Friday, June 20th, 2014

Screen Shot 2014-06-24 at 12.00.05The friendly people of Brooklyn’s self titled mag asked me to write a full commentary to walk listeners through the album. I happily did, and you can read it below, or hop over to the article on their website. I also added the stream on Soundcloud below.


June 06, 2014

“I still remember being 16 and first hearing Meredith Monk’s Dolmen Music,” says Till Rohmann, the Berlin-based producer behind the transcendental techno project Glitterbug. “I started crying because I found music that touched me so deeply and that I felt so connected to.”

Gold Panda’s Half of Where You Live LP had a similar effect recently, leading Rohmann to join his NOTOWN roster and write Dust (due out next Monday) as a reaction to that record’s exploration of “modern urbanity and manmade things.”

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“Dust takes this notion a step further and explores the urban shadows of the forgotten,” explains Rohmann, “the stories of our cities that remain untold, past landscapes that evaporated and memories left behind over time. It’s about memories, traces of things and people that were, urban sub texts and long gone landscapes and the life that inhibited these places.”

In the following exclusive feature, Rohmann shares a full album stream and the stories behind each song, from the marching orders of his “secret electric band” to the ambient closer that eases us all into a “dark, rotating, condensed abyss”…

“Dust” was one of the very last tracks I made on the album; I needed to have all the other materials ready to know what I wanted the title track to sound like. I wanted to take something from all the other tracks and bring it into one single track that sets the album’s mood. It’s pretty stark, I think… and in constant movement.

“Silent Glory” is one of the album’s most introverted tracks. I built it on thick, layered pads and sparse drum loops. It’s a very lonely track that’s slowly rising. It feels to me like taking a last glimpse of the decay before departing across the horizon.

Screen Shot 2014-06-24 at 11.52.39

If there ever was an ode to solitude atop a skyscraper, “47th Floor” is certainly my version of it! I could almost feel the warmth of the last rays of daylight hitting my face as a city sprawls below me. I had the idea for this track during a tour that brought us to Hong Kong, when we visited friends atop their high rise building. I have a slight fear of heights, and it was a frightening and exciting experience to stand up there and to be able to see so incredibly far (and low).

“Apparition” is an odd and funny track; maybe even a little bit sinister with its menacing rhythms and ghostly bells. Honestly, I always have to imagine a bunch of monsters dancing in the middle of the forest, in a burnt cabin or in a hole deep under the ground… It still makes me giggle every time I hear it. And yes, it’s a little spooky too.

“Far Far Light” was one of the first tracks I made for the album. I remember starting the threads of this track on a night train, passing a huuuge factory parking lot on the weekend. It was totally empty, but all the lights were still on. I just watched the endless neon lights crossing my window, like an abandoned world. And so the track follows a similar hypnotic, dark and spellbinding journey across night streets and forgotten urban landscapes. Really, this track helped me to focus more on the mood of the album, and it’s one of my personal favorites.

“When The City Was Bare” wasn’t supposed to be on this album originally; I made it for a split EP with a NYC based artist that sadly never saw the day of light. It has a lot of my very personal NYC mood in it—specifically at night, with big empty streets and buildings that peer from the shadows. In the end, the album was somehow the perfect fit for it.

It’s not clear to me if “The Stars Behind the Light” is fleeing or chasing, but it’s certainly running at immense speeds, over great distances. I imagine someone running at full speed under a meteor shower. It’s so desperate, like running after someone that you will never ever find again, or never reaching where you sought out to go.

“Intermissions” is my secret electric band as it slowly marches into the concert hall… airy, expanding, and hopeful. It’s one of Gold Panda’s favorite tracks on the album.

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“1st of July” is a sunrise techno hymn that slowly builds into raving arpeggios and smothered high hats, and it’s definitely the album’s most pressing dance track. Originally, it wasn’t supposed to be on the album, but Gold Panda liked it so much that we put it on there. Mood-wise, it sticks out a little, but I grew to like that a lot and, it’s soooo much fun to perform it live!

With “Look Around” I chose to break the album mood entirely, and to pull the handbrake with all force. It also makes perfect sense to me as antidote to the album’s most eccentric track (“1st of July”), so they totally needed to be one after the other. (On the vinyl version, they share side D.) It’s a string-driven modern classical/ambient piece that closes the album and slowly pulls into a dark, rotating, condensed abyss. It’s a bit like drifting in a landfill of stories, all piled into undiluted frequencies, gentle, floating, growing, collecting, expanding, like a canvas of memories erasing itself, and thus the perfect piece to close the album.

XLR8R offers free download of “When The City Was Bare” off Dust

Monday, June 9th, 2014

Screen Shot 2014-06-21 at 14.49.28You can read what XLR8R has to say below or here. If you just want to download the track, you can do so here.


“When the City Was Bare” is one of 10 immersive productions set to appear on Dust, the new full-length effort from Berlin artist Glitterbug which sees a release today via Gold Panda’s growing Notown label. Lined with sparse rhythms, “When the City Was Bare” focuses on a gorgeous procession of sequenced bell sounds, behind which lush atmospheres subtlety bend and swirl. Electing not to build into a far grander affair as it progresses, the production is less an outright song and more a trip into an inviting aural world—one whose rich textures and fine craftsmanship bodes well for Glitterbug’s new LP.

Sonic Router (UK) premieres first live recording of Dust

Tuesday, June 3rd, 2014

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I feel very honoured to have Sonic Router (UK) premiere the recording of our first live recording of our brand new show, entirely based on materials from my new album, Dust.You can find the full article here.

As a prelude to the release of his imminent Dust album, Glitterbug‘s kindly blessed us with the recording of the album release concert which took place in Berlin back in May. Stressing the point that it was recorded in front of a seated audience, the set drifts through live interpretations of his album material, showcasing the unique way the producer’s fourth album (but his first for Notown) builds, strolls and flows. Dust is, he explains, a record in-part inspired by Notown label owner, Gold Panda’s brilliant metropolis-evoking, travelling-influenced second LP, Half Of Where You Live.

“It picks up the pieces from that record’s celebration of modern urbanity and manmade things,” Till Rohmann (aka Glitterbug) says. “Dust takes this notion a step further and explores the urban shadows of the forgotten, the stories of our cities that remain untold, past landscapes that evaporated and memories left behind over time. It’s about memories, traces of things and people that were, urban sub texts and long gone landscapes and the life that inhibited these places.”

1 hour radio feature on

Saturday, May 17th, 2014

In German… Tim Thaler of and I in a funny, serious and silly (in almost equal amounts) chat about music, life, and my new album, Dust.

Pitchfork premiers first track of Dust!!

Wednesday, April 30th, 2014

Screen Shot 2014-04-30 at 19.37.36This is a very happy day for Glitterbug: the first track of the album is officially out, premiered by no lesser platform but Pitchfork. Read it here or below:

“Till Rohmann, the German producer who records austere, slowly shifting techno as Glitterbug, clearly understands that patience is a virtue. His compositions unfurl at glacial paces, like tulips blooming in real time, and reward listeners who are willing to stick around. “1st of July,” the first single cut from his upcoming fourth studio album Dust, is no exception: true to its title, it swells from grey morning warmth to a thick, sticky heat, courtesy of humid, billowing synths. Meteorological accuracy isn’t exactly a standard characteristic of electronic music, but here it’s a testament to Rohmann’s deft touch with pace and structure; this is less a piece of minimal techno than a micro-scale model of hot, wet summer days on the horizon.” Jamieson Cox

Podcast for dear new friends of the Cinematic Label

Friday, November 30th, 2012

A very slow, deep, dark and- in my opinion- beautiful set I recorded a couple of days ago for the Cinematic Label.

1. Andy Stott – Numb // Modern Love
2. Terrence Dixon – The Study // Tresor
3. Morphosis – Too Far (Marcel Dettmann Definition 2) // Delsin
4. Monoloc – Session 3 (Original Mix) // CLR
5. New Delhi FM – Cable Pollution Results // Kleiner Grüner Würfel
6. Voiski – Ad Infinitum // Construct Reform
7. Terrence Dixon – Dark City Of Hope (Main Mix) // Tresor
8. Alex Celler – Supranaturale (Soy Mustafa Remix) // Cinematic Label
9. Hans Bouffmyhre – Therapy (Original Mix) // Electric Deluxe
10. Delano Smith – Odyssey (Original Mix) // Sushitec
11. Angel Costa – Asylum // Brood Audio
12. Falko Brocksieper – Reverse Enigineering // Treibstoff
13. Soy Mustafa – Bipolars Revenge (Original Mix) // Cinematic Label
14. CVL† SH‡† – GƟ ΔWΔ¥ // unknown – unreleased

This mix was recorded live in one piece, utilizing two Technics turntables, and a Dateq XTC mixer. For tracks that I don’t have or that don’t exist on vinyl, I used one of those silly, but handy, programs with vinyl control.

Glitterbug Podcast for Smoke Machine Taipeh!

Saturday, September 15th, 2012

The content of this podcast was recorded at the closing concert of this year’s ℅ pop festival in Cologne / Germany, which took place in the St. Michael’s church in the center of the city. It’s split into two parts (there was a short intermission between the two), the first 27 minutes consist of a composition for electronics and string ensemble named “Egress”, the second part is based on the quieter parts of my last album, “Cancerboy”.

I met the dear people of Smoke Machine from Taipeh / Taiwan last May in the Metrowaves Festival in Beijing, and it’s always amazing to find new friends with a similar outlook on art and music. So I’d like to thank Josh and the crew for the opportunity to share my music in places that I haven’t had the chance to visit yet (but hope to do that soon!).

About Egress:
“Egress is a work for string ensemble and electronics composed and recorded by Glitterbug, consisting of four chapters – Vacuity, Span, Stagger and Appraise.

Continuing his notable cinematic approach and pushing it to its next level, Glitterbug unveils Egress as audible storytelling, similar to radio-play and audio drama scores, dealing with notions of escape, isolation, loss, mourning, and undefined fear.

The composition’s thirty minutes are desolate and bare. They narrate an idea of a final, irreversible departure, presenting a soundtrack travelling through vacuous territories and hollow drifts. It narrates a void of inhabitable space, documenting the emotionality of the sound of a world post society, of a future in an unknown and possibly hostile place.

Egress is formed by a reduced musical structure, built upon discerning tonal subtleties, suspended single notes, and harmonics going slowly atonal.”

About Cancerboy:
Glitterbug’s albums, releases and remixes (on respected labels such as Mule, Nowtown, Ghostly, Ki Records and many more) have long placed him in a musical and artistic category of his own. He is a timeless, skillful and daring producer, immune to hypes and seasonal sub-genre fashions. He has developed his own particular musical language that spans seamlessly between deep techno and abstract intimate compositions, always poignant with score-like textures.

His 3rd studio album, Cancerboy, is another milestone conjoining powerful musical expression with heavy content. Cancerboy is an intimate autobiographical journey investigating one of the major experiences that shaped his life, his childhood struggle with cancer. Cancerboy is a personal, private chronicle of battles won and struggles lost, a sound-log suspended in an in-between world.

Cancerboy is an album on the edge of consciousness. Faraway reverbs and analog roughness gain presence, and forward strides an unreserved sound; candid, direct and near. It’s music that allows itself to be angry and desperate, to battle and depart, to challenge and gall. Yet within all its darkness are driving, hopeful moments that shine bright – celebrating a deep love of life.

Electronic Beats Radio premiers new Glitterbug DJ set

Saturday, September 1st, 2012

Electronic Beats Radio premiered a DJ set of mine last week- thank you Clara Fiedler for chasing after me and for making it happen!! Listen to the mix through the player below or directly on Electronic Beats Radio’s website.

Glitterbug is known for his perceptive approach to close-cropped techno; evocative and deep, his records, like this year’s Cancerboy feel distinctly composed. The same attention to detail runs through today’s Mix of the Day: a 90 minute Glitterbug DJ set which unfurls slowly and seamlessly glides between wintry atmospherics, acid-scorched house and cavernous techno – think Pantha du Prince or fellow c.sides and Ki Records label mate Christian Löffler – with the resolution turned up.