Richard Chartier’s monochromatic aesthetic has come to define an audio culture surrounding minimalism. His craftsmanship, working predominately with sounds that exist at the edges of perception is a powerful, albeit subtle statement about notions of space and sound density.
With ‘A Field For Mixing’, Chartier brings the physicality of space directly into his compositional practise. Recording a variety of small and large spaces in countries from Australia through Japan and the USA, Chartier utilises the unique properties of these spaces to create a newly defined acoustic space – one that resonates with his characteristic treatments.
Dedicated to Steve Roden, the near 50 minute piece is an wholly engaging journey. It contracts and expands with a curious sense of depth that at times is utterly absorbing – drawing the listener deeper and deeper into the acoustic layers as one aspect is added and another withdrawn.
The second piece 'A Desk For Mixing' (dedicated to William Basinski) is equally measured. Based on his site-specific installation work “Mixing Desk’ presented at the Montalvo Art Centre in 2006, this stereo rendering expands the themes on the installation into a gentle swelling ocean of post-ambiences and high frequency statics.
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Equivalents - A series of photographs of clouds by the photographer Alfred Steiglitz beginning in 1925 Who's intent was meant to detach the actual image from the subject. In this case the subject was something other than the clouds.
In music all are equivalents as music is truly abstract by its very nature, so what you conger up is yours and yours only. Brian Bourassa