Recording
Subsequent Materials
2014

LINE (US) (LINE_066)
digital

Subsequent Materials continues in the tradition of his previous releases 2002′s Other Materials and 2008′s Further Materials (LINE_035). This digital edition is a new collection that includes out-of-print compilation tracks, soundtracks for visual pieces, unreleased works, and compositions previously only available as bonus tracks from 2006-2012. 

Included on this 3 hour long release are collaborative works with AGF, Taylor Deupree, Evelina Domnitch + Dmitry Gelfand, as well a rework of Autistici.

  1. pre-incidence (2006) 17:36
  2. a field for recordings 3 (2007) 08:03
  3. (sketch for) deletion (2007) 06:00
  4. specification.sixteen with Taylor Deupree 08:54
  5. a field for recordings 2 (2007) 08:42
  6. retrieval path (2007) 11:26
  7. (sketch for) deletion 2 (2007) 04:27
  8. sonolevitation with Evelina Domnitch & Dmitry Gelfand 06:32
  9. fly08 soundtrack (2010) 03:00 03:00
  10. wire.re rework of Autistici 09:15
  11. rendered 1_09 (2011) 07:44
  12. evp.re (2011) 06:27
  13. feedback with AGF 22:09
  14. intro_outro themes for Smithsonian (2012) 00:34
  15. threshold (2012) 10:00
  16. recurrence (stereo reference mix for Akousma at EMPAC) (2012) 15:00
  17. recurrence (transparency.studio) (2012) 34:32

Reviews
2014

… fitting together perfectly as a sampler of Chartier’s ingenious “reductionist” electronic soundworks.
—ambientblog.net

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Sound and installation artist and main Line-man, Richard Chartier, has for a decade and a half, from a unique place at the hub of a contemporary electronics and sound design scene, without being a scenester, pursued a post-digital minimalist inquiry at the interface between the spatial nature of sound, silence, focus, perception and the act of listening.Subsequent Materials (2006 – 2012), third in a series of Chartier compilations, following Other Materials(2002) and Further Materials (2008), assembles works from 2006-2012, compiling seventeen pieces of varying degrees of separation and duration.

While the allure of the physical, as evidenced in the ubiquity of the hark-back to the enduring appeal of the vinyl album, is notable, its limitations are here highlighted by post-digital native Chartier’s use of every last bit of space afforded by the cd format to pack in no less than three hours of (out-of-print) compilation tracks, soundtracks for visual pieces, unreleased works, and compositions previously only available as bonus tracks. Over the course of its hundred-and-eighty-minute expanse come collaborative encounters with, among others, AGF, Taylor Deupree, Evelina Domnitch + Dmitry Gelfand, and a rework of Autistici. From the fleeting 00:34 of “intro_outro themes for Smithsonian,” through the more generous 15:00 of “recurrence (stereo reference mix for Akousma at EMPAC,” to the positively plumped up 34:32 of “recurrence (transparency.studio),” the collection provides a forum for exhibit of the extent of his reductionist approach to electronic sound.
—igloomag.com