While Coil’s alternate identity as ELpH, used to distinguish compositions and sonic creation that had emerged indirectly or by the malfunctioning of their equipment, had already released some songs before 1995’s Worship The Glitch, the album in question was the sole full length effort by said version of the wider group, at this point consisting of core members John Balance and Peter Christopherson as well as newer member Drew McDowall. While not the foundation of the avant-garde genre of glitch music as such, Worship The Glitch absolutely helped popularize both the term and the perception of what it could encompass, as treated sonic elements and patterns emerge and evolve, often with a sense of vast background space. Mostly instrumental, its sixteen selections range from short near-fragments to lengthier pieces, including a non-sequential three part effort called “The Halliwell Hammers,” referencing the tragic killing of playwright Joe Orton by his partner Kenneth Halliwell. There’s also an amazing cover: “Mono,” a heavily treated guitar variation on Nancy Sinatra’s “These Boots Were Made For Walkin’.”