From interdimensional hyperspace comes an apparition that tore itself from the frayed fabric of the universe.  Clearly this being doesn't belong in this world.  He is Glitch Black.  And he makes music to keep this dimension from falling apart.  Combining retro synthesizers with a modern fast-paced tempo, Glitch Black creates darkly energetic music that both excites and terrifies.

Glitch Black has been producing music since 2013, releasing 8 albums to date and garnering over 1 million total streams combined from Spotify, Bandcamp, and Soundcloud.  All 8 albums are frequently listed among the top-selling albums on Bandcamp for categories including cyberpunk, darksynth, 80s, outrun, retro electro, and retrowave. 

In 2016, Glitch Black licensed several tracks for use in the videogame Defragmented, developed by Glass Knuckle Games and available on Steam.  

In 2019, Glitch Black went on a 5,000 mile/10 show U.S. tour with Gregorio Franco and Watch Out For Snakes.

Glitch Black is also known for creating original cyberpunk-inspired animations that feature prominently throughout his live shows (and in this press kit).  In 2020, he began tokenizing and selling these artworks as cryptoart on the Ethereum blockchain.

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A week where we tried to be 'edgy'. It was directly tied to the main story of the week which were the NG guidelines.

Winston Wolf of web3 art & design + anything else. I solve problems.

Issue #17 was published on Sunday January 10th 2021, which was the 1st week of 2021.

Due to an interesting anomaly within the ISO calendar as opposed to the Gregorian calendar, every 5-6 years there is a 53 week year. As it turns out 2020 had 53 weeks. The cover was created by then new and fresh artist Dudly who was in only his second month with Redlion. 

For those of you who have been following us, back then the team was composed solely of Dudly and Redlioneye – the latter of which you might notice created all of the articles during this period in our history – very different times compared to now.
The topic of discussion in issue #17 were the very strict guidelines that Nifty Gateway introduced, especially against flippers. In response to this, we depicted this situation as an underwater Julius Vern scene where the flipper (get it?) gets harpooned by a  diver coming out of a whale’s mouth.
 
We also saw Polyent Games trying to break the NFT sales record by investing into a project through buying an NFT for 800k USD. This sale was slightly more than Beeple’s record breaking offload of “The Complete MF Collection”, which sold for ($777,777.77), that being the number to beat at the time. Our Shameless Shilling section was focused on Cryptopunks and was written by Gmoney, a collector who had recently purchased an Ape Cryptopunk for a  whooping 140 ETH (approx $140k at the time). 

Looking back it’s easy to see that the Gazette was still in a very early stage along with the NFT space as a whole! There is an incredible contrast between the first entry into the year and the last – both in terms of the Gazette’s quality and growth in the NFT space!

The ArtDrop for issue #17 was “Machine Head” by the artist Glitch Black, who meddles with Cyberpunk inspired music & visuals.




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Death to Flippers