Oval
94 Diskont

Markus Popp and Oval, the pioneers of that glitch revolution which (apparently) no one noticed, are a clear example of how many differences can hide behind the label "electronic music".
Think back: during that period, "Music For The Jilted Generation" by Prodigy, "Amber" by Autechre, and "Dubnobasswithmyheadman" by Underworld were released.
And apart from that, for a decidedly smaller group of listeners, there was this 94 Diskont, different from each of the 3 mentioned albums and from the entire electronic panorama of the early '90s, as it offers a unique aesthetic and modus operandi, decisively detaching itself from the English and German scenes.

On the first listen, this album is still a challenge today (Well, it was released by Mille Plateaux...), presenting the very long (24 minutes) Do While as the first track.
From the title alone, the more computer-savvy will understand: music made of loops and conditions that find a form of expression in repetition. Only after this tour de force does it return to more digestible durations, with 5 other "short" tracks (around 5 minutes) and a final Do While (Command + X), a sort of "radio edit" (as if it were the latest hit from Blue).

By making a bold comparison with Reich's "Pendulum music," we can notice that with Oval we also encounter music with a life of its own, where the performer is responsible only for the starting conditions.
There it was two pendulums emitting a sound as they approached their axis, here we encounter more complex sound manipulations, like the use of intentionally scratched CDs that can even create (almost) danceable rhythmic patterns (Shop In Store).

This is the essence of glitch: finding the rhythm and unpredictability of the best Jazz in the errors of machines. A subtle music that, precisely because of this characteristic, SEEMS not to have left traces in today's pop (as avant-gardes usually do, whether popular or cultured).
However, with a critical ear, listening to Björk's new "Medulla" will show: glitch has now also made its way into mainstream pop.
Although in this latter case the credit goes more to Matmos.

Footnote, Piero Scaruffi stated: "These are albums of astonishing banality."

As far as I'm concerned, it's one more reason to own them all. No offense to Scaruffi, but we have diametrically opposed measures of judgment.