About

Before I get into it…If you would like to inquire about booking, remixes, composition, sound design, etc. please contact me through the facebook link above, until further notice.

Yes… I tweet [twitter.com/twitch07]

The Abominable Twitch is the super-hero alter ego of Max Glascott in his otherwise inadequate human form. I am Max. Wow.

I began sampling informational cd-roms when I was 12 years old, layering samples on top of stolen breaks from the chemical brothers, and other acts alike. When I was 13 I started listening to digital hardcore because it was louder and even angstier than punk rock and the small handful of metal bands I enjoyed so dutifully. Making digital hardcore music sounded like a fun and effective way to explore my imminent teenage angst. It was also cheap and easy, and allowed me to be my own punk rock garage band, which was more or less the point. I collaborated with a fist full of other kids in the chicago scene and started to discover a large network of like minded folk largely rooted out of detroit and canada. These contacts and collaborations are still maintained to a degree today and I am enjoying the evolution of technology and the art of electronic music making as much as I possibly can. It is truly a cavernous medium worthy of a lifetime’s devotion and curiosity…

When I was about 15, I heard Kid Koala’s self released cassette mix, Scratchctchctcahatchchtach (or something like that) and I knew immediately that I wanted to learn how to scratch records. This guy was building complex musical scenes with turntables alone. I went out and bought a horrible pair of tables, (Numark 1400s) with a peavy rackmount club mixer, and taught myself how to “DJ”… I didn’t exactly know what DJing was. I just wanted to scratch records. I was astonished when I later discovered that people actually made a viable living simply playing other people’s music for clubs full of other people. Of course, it ALLLL makes sense now (maybe)… So yeah. I started scratching 45rpms from my old childhood collection of disney storybook records. Then I went to a record store in wicker park and discovered that they actually MADE records for scratching! “Holy Toaster!” I thought to myself…Obviously life got more exciting after that.

At this time I had probably completed 2 or 3 full length albums that I had released via CDR and DIY online distro. It was stupid fun, and I had no idea what I was doing. At some point, the elusive and apparently elegant genre of “IDM” became the new thing. I was exposed to a world of sounds that could have only been the result of countless hours of brain power used in front of computer screens and swaths of complicated looking gear. I was quite excited. My production process at the time more or less consisted of sitting in front of a wave editor (soundedit 16) for 867 hours straight, pushing, pulling, adding and subtracting as many little sounds as I possibly could, until my ears just couldn’t fit anymore into my brain. It was like baking a really tiny cake with 5,000,687,476,834 sprinkles placed individually and very precisely abreast a supple blanket of banana cream frosting. Suddenly it felt like there might actually be a place for me in this big bad world of musical skulduggery. There was a moment, that I realized, art only becomes art, when it ceases to merely be a distraction from the rest of the world, and actually becomes a part of it. “HOORAY!” shouted the young pilgrim…

After God entered my life, I wrote 78 albums devoted to the imminent 2nd coming of Georgia O’Keefe, and released them on 78 different, extremely major record labels. After my shamefully predictable downward spiral, I was dropped from every label and was forced to change my alias from “Johnny McDickslapper” to the more timely and appropriate, “The Abominable Twitch.” My agent at the time, Strathmore M.F. Grumbleson, had advised me to choose this name as he claimed, “It just rolls off the tounge…like when you sweat inside your mouth!” I couldn’t have agreed more.

I currently live and work in Chicago. I have spent the last several years experimenting with many different genres and improvisational performance. I look forward to exploring the evolution of styles and methods via the vehicles of collaboration and the  shifting technologies therein. I hope I can continue to share this with you for as long as I am able…

…MORE SOON…