The 'Glitch Works' were a series of works conceived during 2005 and were initially performed by The Glitch Collective. Later works were developed for solo performance and as a duo (with Sebastian Tomczak.)

The Glitch Works emphasised the compositional and performative possibilities of employing pre-record sound in conjunction with CD players. The works were developed in such a way so as to emphasise and employ the CD players read and lag times: the time that exists either at the commencement of a track read, in between tracks or the time taken to repeat or shuffle tracks.

The Glitch Works were primarily influenced by the phase relation works of Steve Reich, Brian Eno's Music For Airports (1978) and the 4-CD album by The Flaming Lips, Zaireeka (1997) (which requires the four CDs to be played back simultaneously on seperate devices). The Glitch Works formed the compositional portfolio for my honours research project, Phase Relations: Technology & Impact on Compositional Process.

Glitch Collective (March-September 2005)
Performance ensemble.

Ensemble members of the Glitch Collective were Rohan Fraser, Hayley Miller, Tristan Louth-Robins, Lauren Sutter and Sebastian Tomczak.

On a couple of occasions over 2005, the ensemble would perform compositions using pre-recorded instrumental phrases and/or found sound which had been burned to CD-Rs prior to performance. CD players would be set to either shuffle or programmed sequences and set to loop continuously. They would then be played back in unison for a set duration, ranging from five minutes to two hours depending on the nature and structure of the material.

Assonance 1, Assonance 2 (May 2005, July 2005)
Assonance 1: for pre-recorded sound and CD players
Assonance 2: for pre-recorded sound, CD players and 'cello

Assonance #1 is a phase relation work influenced by the early work of Steve Reich, Brian Eno's Music For Airports (1978) and the Flaming Lips Zaireeka (1997). The work involves the recording a multiple instrumental cells, each of which are recorded to CD-Rs. These CD-Rs are then played back simultaneously on CD players set to 'shuffle' settings, creating random permutations of melodic and rhythmic elements. Emphasis is placed on the different delay timings of the CD players, which creates the phase relation effect.

Assonance #2 is a phase relation amalgam of Brian Eno's Music For Airports (1978) and Terry Riley's In C (1964). Pre-recorded musical cells are recorded to CD-Rs as individual tracks and played back on as many as four CD players set to 'shuffle' settings, creating a random sequence of musical cells. The solo performer operates on a similar principle - choosing a from thirteen musical cells whilst the pre-recorded musical cells are playing back.

Idioglitch (June 2005)
for pre-recorded percussive sound and CD players

Idioglitch follows the same approach as Assonance #1, except replacing the instrumental sounds with percussive sounds.

Glitch Collective performance, April 2005. Photo: Sebastian Tomczak

Performance of Assonance 2 at Electronic Music Unit, Elder Conservatorium. July 2005. Photo: TLR