Archive for February, 2012

Video for ‘Vacuity’ by Ronni Shendar

Thursday, February 16th, 2012

‎’Vacuity’ is the first part of my four part composition ‘Egress’, released earlier this month on False Industries. Imagine opening your eyes in a dead, dark, hostile place where everything is in ruins. That’s pretty much what ‘Vacuity’ is about, and I couldn’t imagine a more fitting visual translation of the piece than Ronni Shendar‘s video for it. Taken from the live premiere at the Plektrum Festival in Tallinn / Estonia, September 2011.

Egress Review on Textura

Thursday, February 16th, 2012

Screen Shot 2012-02-16 at 10.00.12 AM

You can also read the review on Textura’s website.

Glitterbug’s Egress, the fifth release on Yair Etziony’s False Industries, is pitched as “audible storytelling, similar to radio-play and audio drama scores, dealing with notions of escape, isolation, loss, mourning, and undefined fear,” a characterization that, at least as it pertains to Till Rohman’s four originals, isn’t far off the mark. Apparently, Glitterbug as a project has strong techno roots, with the Cologne-based Rohman known for epic DJ sets. But while he might be nominally associated with techno, his Egress compositions are worlds removed from the genre. A four-chapter work for string ensemble and electronics, Egress’s richly coloured, beatless scene-paintings clearly are crafted more for headphones listening than the dance floor. In fact, the pieces are so thoroughly unrelated to techno, it becomes hard to think of him as a techno DJ after listening to the material.

“Vacuity” slowly emerges from silence and then gradually assumes form as a cinematic evocation of foreboding pitches, muffled bell tones, and sub-lunar percussive patterns. Calling it cinematic in this case is no mere conceit as the material could very convincingly function as part of a soundtrack and specifically as music to accompany a film’s opening. Speaking of sub-lunar, the ambient-dronescape “Stagger” largely situates itself within a quietly pulsating micro-universe where sounds barely rise to the level of audibility, while “Span” arranges multiple layers of synthetic washes and warbling tones into eight serene minutes of slow-motion ebb-and-flow. The ponderous “Appraise,” much like the other material, exudes a rather cryptic, sci-fi feel and brings with it a strong sense of unease and imminent threat.

Deviating from the uniform style of the originals are two remixes, the first of which sees Tilman Erhorn (Mille Plateaux, Neo Ouija) re-animating “Span” with restrained clicks-&-cuts-styled beat textures and brightening it with bright melodic ostinatos, resulting in a colourful remix whose mood is far sunnier and light-hearted than the original’s. Not to take away anything from the material authored by Rohman himself, but the forty-seven-minute release’s most memorable track comes from Rafael Anton Irisarri, whose The Sight below treatment of “Vacuity” transforms it into an eleven-minute dynamo of ominous drones and thick vinyl crackle powered by a locomotive tech-house pulse and a thumping bass line.

March 2012

New live set uploaded: live at Glashaus, Bayreuth, 2nd of December 2012

Thursday, February 9th, 2012


This was our last show before the pre-album-release break (Cancerboy is out May 7th, 2012, we’ll be back on stage in April!). Thanks to the lovely people at Glashaus Bayreuth, it was such a great pleasure to be on your stage. We could have not hoped for a nicer tour finale!! And also a very special mega thanks to the dear 24h Kollektiv people!

The set was recorded straight from my sub mixer, stereo out, into a small Tascam recorder, that’s it. No further editing or post production has been done to the file.

New EP “Egress” out today!

Friday, February 3rd, 2012


My ‘Egress’ EP is out on the Israeli label False Industries! Hurray! Thanks Yair for your efforts, I am so exited about this.

False005: Glitterbug with a dark and magical release on False Industries. This Release will come with remixes of The Sight Below and Tilman Ehrhorn

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.

(Note to the listener: As the work explores wide ranges of sound and tone, a decent stereo system or high quality headphones are required to fully experience the work, as computer or laptop speakers will obliterate vast parts of its frequency range.)