nedjelja, 1. rujna 2013.

Pinkcourtesyphone - Foley Folly Folio (2013)

Alter-ego Richarda Chartiera.
Sirup snova napravljen od mjesta, plastike i tajnih sastojaka koji se nanosi kao ruž za usne. 

Pinkcourtesyphone wants you to watch the new video from Elegant & Detached.
Pinkcourtesyphone is dark but not arch, with a slight hint of humor.
Pinkcourtesyphone is amorphous, changing, and slipping in and out of consciousness.
Pinkcourtesyphone desires to capture the sonic essence of some nicely dressed 1960′s housewife wistfully peering out her window while reclining on some lovely couch or divan, with, of course, a slowly sipped cocktail and perhaps half of a Valium. Perhaps she is waiting for the phone to ring.
Pinkcourtesyphone operates like a syrup-y dream.
Pinkcourtesyphone strives to be both elegant and detached.
Pinkcourtesyphone remained dormant for a long time.

Pinkcourtesyphone is actually Richard Chartier (b.1971), some sound and installation artist, considered one of the key figures in the current of reductionist electronic sound art which has been termed both “microsound” and Neo-Modernist. Chartier’s minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself. Chartier’s sound works/installations have been presented in galleries and museums internationally and he has performed his work live across Europe, Japan, Australia, and North America at digital art/electronic music festivals and exhibits. In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism. He is considered by some to be quite fancy. He lives with his husband and two precious cats in the expansive city of Los Angeles and likes shopping on Ebay.
Richard Chartier (again often under the pseudonym Pinkcourtesyphone) began DJing in 1991, in the heyday of techno.
As a DJ he is best known for his nights FILLER (2001-2003), Mies (2004-2005), and Procedure (2005-2010) in Washington, DC as well as the Treatment (2002-2003) monthly event at Sonar in Baltimore. His special Proto-Synthesis night sprinkled throughout 2000-2003 was a precursor to the renewed interest in Cold Wave and 1977-1983 electronic music. He was proud to DJ at the fateful last night of BUZZ in DC before it was shut down. He has DJed internationally including at Sonar Festival (Spain), Glade Festival (UK) and ElectroFringe (Australia).
His sets can be an eclectic mix, ranging from mid-20th century analog-ica to tech-house/house to ambient soundscapes to contemporary avant garde electronica to absurd Belgian New Beat remnants. Textures, rhythms and noise non-chalantly mixed into a flowing soundtrack for you and your cocktail.
Attention Listener! you have a call… please make your way to the Pinkcourtesyphone… its for YOU…

LINE SEGMENTS is the new series  of releases on LINE which will highlight some, perhaps, very non-LINE-like works. Works that stray from the norm… more maximal, maybe… louder, maybe… noisier maybe… beat-oriented, maybe. So many possibilities… a chance to showcase some things LINE loves.
The first LINE SEGMENTS release is the lugubrious Foley Folly Folio by Pinkcourtesyphone. But what IS Pinkcourtesyphone and why is it so delicious?
Pinkcourtesyphone is dark but not arch, with a slight hint of humor.
Pinkcourtesyphone is amorphous, changing, and slipping in and out of consciousness.
Pinkcourtesyphone desires to capture the sonic essence of some nicely dressed 1960′s housewife wistfully peering out her window while reclining on some lovely couch or divan, with, of course, a slowly sipped cocktail and perhaps half of a Valium. Perhaps she is waiting for the phone to ring.

Pinkcourtesyphone operates like a syrupy dream.
Pinkcourtesyphone strives to be both elegant and detached.
Pinkcourtesyphone remained dormant for a long time.
Attention listeners… Pinkcourtesyphone is calling… please pick up.-

Hugely recommended if you like the work of The Caretaker, William Basinski, David Lynch/Badalamenti - individually numbered run of 300 copies on glow-pink vinyl, newly mastered and cut by Matt Colton at Alchemy* We're very pleased to present a vinyl version of Pinkcourtesyphone's seductive ambient pop project, 'Foley Folly Folio' on (neon pink!) vinyl as the eighth Boomkat Edition. A sublime, dreamlike drift evoking "the sonic essence of some nicely dressed 1960's housewife wistfully peering out her window..." it narcotically impresses a deeply Lynchian vibe shot thru with a dark, ominous feel and mysterious sensuality that's had us returning to its charms like some modern Betty Draper character with a well-thumbed 50 Shades of Grey. Line boss and revered minimalist Richard Chartier aka Pinkcourtesyphone slimmed down the original five extended tracks to four, opening with the spine-chilling affect of 'Wistful Wishful Wanton' - a five minute dose of swirling voices and amorphous electronics as sensual as they are haunting/haunted - before succumbing to a deep melancholy with the semi-conscious unease and spectral presence of 'A Dark Room Full Of Plastic Plants', and segueing the gauzy bliss of 'Germs Through Wires (Version)' with crepuscular chorale, 'Evening Theme', and the glassy, hollowed beauty, 'All Made Up'. Since this album first dropped on CD last year, Chartier has used his Pinkcourtesyphone alias - long dormant since he used to DJ around Washington DC in the early '90s - for a handful of further releases, including a new album in the making 'Description of Problem' with his long-time collaborator William Basinski and X-TG mistress Cosey Fanni Tutti...we cannot wait. - boomkat 

Line’s primary output is an intensive dissection (and reassembly) of sound. Each release comes wrapped in a thorough description of its context and purpose, and even though the label’s back catalogue amounts to an eclectic body of sound analysis, the premise that unites the releases is actually rather simple: Line asks the listener to listen, and be marvelled by what sound is more than what it could be said to represent. In contrast, Pinkcourtesyphone sets up Line Segments to be open to a more fantastical, less analytical listening experience; this is Chartier’s weekend persona, stripped of his sonic labcoat and free to recline into casual attire.
The album is nonetheless informed by his impeccable handling of electronics. Much of the texture clings to the low frequencies like a mist, or buzzes gently like power cables threaded beneath the listener’s feet. These elements of the work feel earthly and serious, lapping over the boundary into Chartier’s more intensive sound explorations and adopting a more functional role within the soundscapes; they tweak the emotional hue of the surrounding shapes and establish the spatial dimensions of the album’s imagined environments.

Then there are the more elaborate – almost cartoonish – elements, through which Pinkcourtesyphone abandons the common threads of Line’s “traditional” output: cut up gloops of garish organ, futuristic sci-fi whistles, dreamy vocal samples, orchestrated shopping channel jingles looped into awkward waltzes. There’s a synthetic and materialistic quality – shiny surfaces, artificially sweet taste – and much of Foley Folly Folio feels as though it’s been ripped from a stiffly idealistic family home, built upon a symmetry and cleanliness that feels somewhat unsettling. Sometimes the work falls deeply into faceless, trivial daydreams for minutes at a time – billowing as pink ambient clouds and fluttering as frilly synthesizer curtain tails – and while this occasionally can cause listener interest to lapse, more often than not it only helps to strengthen Pinkcourtesyphone’s eerie plastic world. -

Ambient for the postwar suburban housewife. ”Formed from places, plastics and particulars” by sound artist Richard Chartier over several years, Foley Folly Folio is a soundtrack for the dawn of the self-medicating era, spread creamily like lipstick on plump lips. Late-afternoon Levittown ennui melts away as the sun vaporizes the last sprinkler droplets off the front lawn. A floral scent of Air Wick air freshener clouds her senses as she slips into her barbiturate haze. Hoping her husband gets home from work soon, she gazes through the window, down the street, identical houses each with a newly-planted sapling between curb and sidewalk. A young girl’s voice speaks of the “most wonderful night of my life” with Harlequin Romance breathlessness. Later, when the album begins to draw to a close, she will be whimpering, “It’s not supposed to be like this.”
“Here is Something…That is Nothing” is a confusion of thoughts settling down into fluidity, its atmospheric pressure dropping as it transmutes into “A Dark Room Full of Plastic Plants,” calm drifting in on an insubstantial, air-conditioned mist. But there is groaning coming from the unfinished basement, dredging up a grand ascent of fat, round notes. Each upward arc of euphoria is followed by a deep trough.
A suggestion of easy-listening music coming from the hi-fi is introduced by “Afternoon Theme” and loops in the air like cigarette smoke, doubling over itself until becoming an “Evening Theme” as candlelight and wine time approaches, and as the long shadows grow longer, things get creepy. The house is settling and strange noises are coming from the new Frigidaire. Woozy, recumbent, trapped at home in the Atomic Age, mother’s little helper is wearing off and still no sign of her husband.

This is a plush, original ambient album. Chartier develops his themes luxuriously and unsettlingly. A Barbie doll whose eyes follow you around the room from the shelf. - 

Pinkcourtesyphone is the not so secret alter ego of renowned sound artist Richard Chartier, and while it seems to be geared more towards a looser, more relaxed sensibility than the serious artist guise that is usually thrust upon him, it lacks none of his careful attention to structure and detail.  Quite a bit of the material on this compilation (recorded erratically between 1997 and 2011) could pass for his normal work, but throws enough curve balls to give it a distinct identity all its own.
While the imagery and mood conveyed seems to lean a bit into the world of camp, it never goes too far. It isn't afraid to defy expectations either, however.  For example, the overt sampled voices on "Wistful Wishful Wanton" and "Afternoon Theme/Germs Through Wires/Evening Theme" would never pop up on a traditional Chartier composition, but here they work, even if they’re treated and layered into near indecipherability.
The textural, analog noises of "A Dark Room Filled With Plastic Plants," however, isn't that far removed from the style he's known for, though the shift into almost uplifting, dreamy electronics at the end seems a bit more maximalist than I would have expected.  The same goes for the echoing, reverberated clicks and clacks of "Here is Something…That is Nothing," which are occasionally disrupted by the almost techno-ish synth swells and jarring outbursts of sound.
The aforementioned "Afternoon Theme…" especially mixes things up, right from its opening of distant, jazzy horn like sounds and twittering, colorful electronics.  With the exception of some passages of dissonant, machinery hums, it is far more in line with musicality than the clinical studies of sound he usually does.  In general, the three long (20+ minute) pieces that make up the bulk of this album are surprisingly varied and dynamic, even if they often delve into quiet minimalism.
At first I was expecting Foley Folly Folio to be a bit more of a drastic departure from Richard Chartier's normal work…for some reason I was bracing myself for disco beats and house music orchestral hits, but the result was not quite extreme as I thought.  In truth, it is probably all the better for that, and it does have a more relaxed, inviting feel overall.  While I like the usual detached, clinical approach to sound art that Chartier usually engages in just fine, the unpredictability of this one made it stand out as rather unique, compelling, and even a little fun at times. - Creaig Dunton


Richard ChartierInterior Field (2013)

Interior Field is a new stereo variation of a multi-channel sound work created from field recordings of a variety of small and large spaces from around the world. This work was originally presented at Civilian Art Projects in Washington, DC in 2012.
Through his compositional practice, Chartier utilizes the unique physicality of these environments to create a newly defined acoustic space. Interior Field is a transposition of location, focus, and experience itself.
A significant element of “Interior Field (Part 2)” comes from binaural recordings at the McMillan Sand Filtration Site in Washington, DC. This unique historical site, built in 1905, is currently slated for almost complete demolition and redevelopment. Chartier was given special access to record at this site during a major rainstorm.

Interior Field is the follow up to Chartier’s critically acclaimed field recording work Fields for Mixing, released in 2010 on Room40 (Australia) -

Richard ChartierRecurrence

In 2000, LINE began with Series by Richard Chartier, a work described by The Wire as: “it’s worth stretching the ears in search of Chartier’s sequences of exquisitely sculpted sonic events, as gorgeous detail bodies forth out of the shadows.”
Since then, this work has remained unperformed, often “unperformable” due to live environments’ noise and audio system limitations.
In 2011, Chartier began a series of new works, Recurrence, the first revisiting Series‘ elements and reworking them into entirely new compositions. Drawn to the original sounds Chartier felt that they could be re-composed. The form they have taken contains isolated and discreet events strewn across the sound field, creating a strange landscape and altered sense of space.
Prompted by an invitation to perform in the ideal and intimate listening environment of artist/curator France Jobin’s Immerson event at the renowned OBORO in Montreal, Chartier was finally able to present the subtlety of this new Series, “Recurrence (series)” in two parts. Working at OBORO with their Head of Audio Research, Stephane Claude on its spatialization Chartier finally presented versions of piece live in a multi-channel diffusion on November 17 and 18, 2011.
In October, Chartier presented a 30-channel edited version of “Recurrence (Series)/ Recurrence (room/crosstones)” at EMPAC (Troy, NY) as part of Akousma @ EMPAC event to a sold out theatre.
An full studio version of “Recurrence (series)” is accompanied on this release with “Recurrence (room/crosstones)”, an exploration of room tones and other low frequency wave recordings.

The Recurrence works are a continuing reflection on major aesthetic elements of Chartier’s artistic language as it has evolved through the years. This is Chartier’s first new solo studio album since 2010′s Fields for Mixing (Room40, Australia). -


My work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself. I seek to engage via listening as opposed to musicality.
A significant element of my work is the use of sounds that necessitate a focused engagement on the part of the auditor. It is with an incremental and meticulous process of reduction that I create a complex textural field in which these sounds are treated with a sculptural integrity. 
Compositions often explore an implied silence. The sometimes near-inaudible character of the sounds I utlize belie the activity and energy of a composition itself. Generating a rich threshold between silence and sound that is finely structured, in some cases cyclical, these pieces are often best experienced at low volumes or on headphones.
The use of extended durations push auditors into even deeper areas of attention, concentration, and focus.
My live performances differ perhaps most significantly from my recorded compositions by virtue of an increased audibility and activity. Performed in darkened spaces to circumvent other sensorial input, my sound performances seek to create focus on the essence of sound and its physicality. Listeners have often noted the transportative nature of the performances, identifying a distinct displacement in their experience of time.
In installation form, my work most often is re-contextualized into site-specific, controlled environments. The auditor becomes imbued in the physicality of the sound and its perception in relationship to his/her placement within the space. These installations aim to redirect the listener/viewer’s concentration and bring his/her attention to selective aspects of experiencing sound. I find that an empty gallery has the potential to mold an effective listening environment, or to create through the manipulation of sound a space of novel physical experience.
In line with my interests in expressions of form, I often remove visual cues from these spaces and approach as closely as possible a non-referential state within the work itself. An attempt at pure sound rather than visual art that makes sound, or the generation and experience of sound that does not depend upon a visual reference.


{Description of Problem} by Pinkcourtesyphone / TBC / CD
Interior Field / LINE, US / CD
Please Pick Up / Phototrash by Pinkcourtesyphone + Kid Congo Powers + remixes / IO Sound, Canada / CD
Phototrashed by Pinkcourtesyphone + Kid Congo Powers + remixes / IO Sound, Canada  / digital EP
split with Pinkcourtesyphone + Lilac (one point, eat records, Canada) / tape + 10″ lathe cut vinyl
Undefined by Yann Novak + Richard Chartier / Farmacia901, Italy / CD / details
Aurora Liminalis by William Basinski + Richard Chartier  / LINE, US / CD
Reflected Themes by PinkcourtesyphoneSuperior Standards / lathe cut 7″
Recurrence /  LINE, US   /  CD / details
Elegant & Detached by Pinkcourtesyphone / Room40, Australia  /  CD  / details
Built Through with Robert CurgenvenLINE, US /  CD  / details
Foley Folly Folio (as Pinkcourtesyphone)  /  LINE, US  /  CD  / details
Untitled Tapes: 1991-1993/ 3particles, US / digital edition / details
Transparency (Performance) / LINE, US / CD / details
Fabrication 2 (with Asmus Tietchens) / Auf Abwegen, Germany / 2CD / details
Fields for Mixing / Room40, Australia / CD /  details
Untitled(Angle.1) / NVO, Austria / CD / details
Further Materials / LINE, US / CD / details
Untitled 1-3 ( with William Basinski ) / LINE, US / CD / details
Absence / 3particles, US / CD / details
Fabrication ( with Asmus Tietchens ) / Die Stadt, Germany / CD / details
Incidence / Raster-Noton, Germany / CD / details
Current / Room40, Australia / CD / details
Specification.Fifteen ( with Taylor Deupree ) / LINE, US / CD / details
Levels(Inverted) / LINE, US / CD / details
Reflect What You Are / 3particles, US CD / details
Tracing / NVO, Austria / CD / details
Retrieval 1-5 / ERS, The Netherlands / LP + CD / details
Live in Los Angeles (as Chessmachine with CoH) / LINE, US / CD / details
Opening Coccyx / Die Schactel, Italy / CD + Art edition / details
A Field for Recordings.1
/ 3particles, US / CD / details
Kapotte Muziek by Richard Chartier / Korm Plastics, NL / CD
Edition / LINE, US / 4CD / details
Set or Performance / LINE, US / CD / details
Chessmachine ( with CoH ) / Mutek_rec, Canada / CD / details
William Basinski + Richard Chartier / Spekk, Japan / CD / details
Archival1991 / Crouton Recordings, US / CD / details
Overview / 3particles, US / CD / details
Two Locations / LINE, US / CD / details
Other Materials / 3particles, US / CD / details
Direct.Incidental.Consequential Edition 2 / 3particles, US / CD / details
Varied ( as 0/r with Nosei Sakata, Japan) / 12k, US / CD / details
3_components / Fusebox, Washington, DC / CD / details
of surfaces / LINE, US / CD / details
After ( with Kim Cascone + Taylor Deupree ) / 12k, US / CD / details
decisive forms / Trente Oiseaux, Germany / CD / details
silver / 3particles, US / 3″CDR / details
typeof / Fällt, Ireland / 3″CD / details
series / LINE, US / CD / details
SPEC. ( with Taylor Deupree ) / 12k, US / CD / details
a hesitant fold / Meme, Japan / CD / details
0/r ( with Nosei Sakata) / 12k, US / CD / details
Postfabricated / Microwave Recordings, NL / CDR / details
direct.incidental.consequential / Intransitive Recordings, US / CD / details


“Petraglyph (for Ranier)” by Pinkcourtesyphone / Mind The Gap Gonzo Circus Magazine, Belgium / CD
“pixels came and broke your heart” by Pinkcourtesyphone / And Darkness Came / Headphone Commute / digital
“” /  Unearthed from Airwaves / io sound, Canada / CD / details
“rendered1_09” / 10 / Room40, Australia / mp3
“” (rework of Autistici) / Resonating Wires Remixes / Audiobulb, UK / CD / details
“Sonolevitation” (w/E.Domnitch + D.Gelfand) / Optofonica / LINE, US / DVD / details
60° Project / The Huddersfield Contemporary Music Festival / Empreinte Digitales, Canada / CD
“My Favourite Cliché” on Recovery / Soft Cell cover as Nice Box (with CoH) / Fractured Recordings, UK / 10×7” BOX / details
“(sketch for) deletion. 2” on Atlantic Waves Festival Sampler 2007 / Calouste Gulbenkian Foundation, UK / 2CD
“Retrieval Path” on Airport Symphony / Room40, Australia / 2CD
sounds on Sound Contributions / Leeraum, Switzerland / DVDR
3 lock groove loops on Communication Defines Culture V.2 / Conversation Records, US / 12” vinyl
“a field for recordings.2” in Portraits of Sound Artists / NVO, Austria / book + CD / details
“specification.sixteen” (with Taylor Deupree) on Camera Lucida / LINE, US / DVD / details
“(sketch for) deletion” on Fear Drop / France / CD
“field for recording.3” on On Isolation / Room40 / Australia / CD / details
“sent” in Para-Dice by choreographer Saburo Teshigawara / ARTE, France / performance soundtrack
3 tracks on LINE_PROMO / LINE, US / CD
2 commissioned untitled ringtones / Toneshared / Poland / online
“tempt” on Mutek05 / Mutek_Rec, Canada / 2CD / details
“improvisation_122904b” on 35 Mutant Seconds: based on Rafael Toral’s Creamy Burst / Grain of Sound, Portugal / CD
“untitled” on (1.8)sec.comp / (1.8)sec.records, Canada / LP
“postfabricatedmonomix” on -00:dedaih / Synchron, Switzerland / MINI-CDROM
“trackb” ( 0/r ) on The Laptop & Electronic Music, Contemporary Music Review, Vol 22, #4 / UK / CD
“How Things Change (excerpt)” on Netmage04 / The Wire, UK / CD
“archival1992” + “specification.14” on Two Point Two / 12k/LINE, US / 2CD / details
“Specification.eleven” ( with T. Deupree ) / Sounding Spaces / ICC, Japan / BOOK + CD / details
“tracing (sketch for)” on Frequenzen / Schirn Kunsthalle, Germany / CD / details
“herein, then” on Circle 0 / Fylkingen Records, Sweden / 2CD
“series[6](edit)” on Whitney Biennial / Whitney Museum of American Art, US / book + CD / details
“how things change” on For Morton Feldman / Trente Oiseaux, Germany / CD
“000.0/01” on Inflation / MU-Label, Japan / 2CD / details
“composition09.01”+ “untitled.” ( as 0/r ) on Minima-List / List, France / CD
“Gast.Re” on Gast (Goem remixes) / Mutek_rec, Canada / CD
sounds on Layeral Intersect #2: Pseudosphere / Anechoic/Deadtech, US / CD
“live(excerpt”,””, “0/R/0″ on Chronologi 12k: Year 1-Year 4 / Instinct Records, US / 2CD
“filer” on Clicks & Cuts 2 / Mille Plateaux, Germany / 3CD / details
“untitled” (as 0/r), “010101″ on Between Two Points / 12k/LINE, US / 2CD / details
“untitled60sec” on Computer Music Journal: Sound Anthology Vol. 24 / MIT Press, US / CD
“sent” on Variious / Intransitive Recordings, US / 2CD
“untitled” on 12K1008 / 12K, US / CD
“3particles” on lowercase / Bremsstrahlung, US / 2CD
8 lock-groove pieces on Tool / Microwave, NL / 7” VINYL

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