The definition of genres within electroacoustic music, electronic music or computer music is extremely difficult. In recent times it seems that, for some, the term electroacoustic music has become a euphemism for acousmatic composition; computer music has so many different categories that it has become a generic term hardly used at all but replaced by interactive, algorithmic and the many other sub-genres which now predominate. This is probably a natural and expected evolution through the development and globalisation of technologies and the dissemination of aesthetics, but when Organised Sound issued a call for articles relating to the use and application of computers and technology in ‘popular music’, we may have, inadvertently, guaranteed that no one would understand what we meant. We had imagined that there were many people using what to date had been seen as largely academic research tools and applications and applying them in exciting ways to new forms of commercial experimental music and electronica. We had imagined that the potential of ‘glitch’, ‘électroacoustique’ or ‘microsound’ and the many other genres of contemporary electronica would yield articles about the desires, methods and techniques of young composers and laptop performers.