Podcast appearances and mentions of richard chartier

Episode 178 Chapter 37, Contemporary Software and Synthesis. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 37, Contemporary Software and Synthesis from my book Electronic and Experimental music. Playlist: CONTEMPORARY SOFTWARE AND SYNTHESIS   Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Barry Truax, “Sonic Landscapes No. 3” (1977 revision). From the album Sonic Landscapes: Electronic and Computer Music (Melbourne Records, Canada). “A spatial environment for four computer synthesized soundtracks.” 15:16 01:36 2.     Robert Hood. “Spirit Levels” (1994) from Internal Empire. Written, performed, and produced by Robert Hood. 05:06 16:50 3.     Ikue Mori, “Abacus—Blue Parrot” (1996) from Garden. Composed, performed, produced, drum Machines, effects, Ikue Mori. 10:57 10:57 21:56 4.     Ghost, “Aramaic Barbarous Dawn” (2004) from Hypnotic Underworld. 03:15 32:52 5.     Outputmessage (Bernard Farley), “REM State” (2004) from Oneiros. Written, performed, and produced by Bernard Farley. 04:33 36:08 6.     TOKiMONSTA, “Let Me Trick You” (2010) from Cosmic Intoxication EP. Jennifer Lee is a producer from Los Angeles, California, USA. 03:27 40:40 7.     TOKiMONSTA, “Line to Dot” (2010) from Cosmic Intoxication EP. Jennifer Lee is a producer from Los Angeles, California, USA. 02:50 44:06 8.     Harold Budd, “Jane 1” (2014) from Jane 1-11. Composed, performed, produced by, Harold 07:42 47:00 9.     Sophie, “Elle” (2013) from Bipp/Elle. Electronics, vocals, composed and performed by Sophie Xeon. Sophie was primarily known for electronica dance music. 03:39 54:42 10.   William Basinski & Richard Chartier, “Divertissement” excerpt (2015). Composition and computer synthesis, Richard Chartier and William Basinski. 08:36 58:20 11.   Thom Holmes, “Numbers” (2017) from Intervals. A composition using recordings of numbers stations as the primary source, combined with audio processing and software synthesis. 05:57 01:06:54 12.   Ami Dang, “Conch and Crow” (2019) from Parted Plains. Sitar, electronics, audio processing, voice, Ami Dang. 06:00 01:12:50 13.   Jeff Mills, “Canis Major Overdensity” (2020) from The Universe: Galaxy 1. Written, performed, and produced by Jeff Mills. 07:42 01:18:48 14.   Pamela Z, “Ink” (2021). Commissioned and presented by VOLTI, artistic director Robert Geary; executive producer Barbara Heroux; performed by VOLTI. Music by Pamela Z. 18:08 01:26:32 15.   Ryuichi Sakamoto, “20220214” (2022) from 12. Composed, produced, performed by Ryuichi Sakamoto. In answer to a question about how these recordings were done, Sakamoto replied: “They were all recorded in the small studio that was in my temporary abode in Tokyo. Depending on the piece, two or four mics were used to record the piano.” 09:10 01:44:38 16.   QOA (Nina Corti), “Sauco” (2022) (04:22), “Liquen” (2022) (02:50), “Yatei” (2022) (03:04), “Muitu” (2022) (03:16) from SAUCO. Side 1 of this release from this Argentinian composer-performer. “Sonic journey crafted to cultivate poetic gestures amidst Fauna, Flora, Fungi, Mineral Waters, Wind, and Earth. Each track is an exploration of sound's constant transformation, akin to dragonfly particles swimming in the air. Like waves occupying a space in the spectrum, the compositions work with the movement, condensation, and lightness of the air.” 13:33 01:53:50   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

CITR's 24 Hours of Radio Art in a snack-sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something. Tune in Friday afternoon for Yanling (‘Cymatic‘), Ava Rasti (‘The River‘), Nerthus (‘The Path of the Elder Ones‘), Sunken Fence (‘Lotic‘), Sole Massif (‘False Negatives‘), plus the CITR Global Network premiere of Eighth Tower Records' ‘Music For Alien Temples‘ and Past Inside the Present's ‘Past/Present 2024‘ collections (Inhmost, Ausklang, bvdub); plus William Basinski / Richard Chartier's “Aurora Terminalis” in its entirety.

CITR's 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something. Tonight's broadcast features more Richard Chartier and Purgate, plus Rutger Zuydervelt, Johanna Elina Sulkunen, Sanctuary, Konrad Ecker, Cindytalk, Virgilio Oliveira, Siria, and the CITR Global Network premiere of OdNu's ‘Ronroco Rococo Memories‘.

CITR's 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something. This afternoon's broadcast features Fjaak, Massimo Carozzi / Sandrine Nicoletta, Andreas Trobollowitsch /Alex Kranabetter / Martin Eberle, Purgate, Maurizio Bianchi, Solaris, Roberto Vodanovic Copor, Michael Morley / Joachim Nordwall, plus the CITR Global Network premiere of Richard Chartier's ‘On Leaving‘.

Episode 691: May 4, 2024 playlist: Louis Carnell and Laraaji, "eleven" (111) 2024 Mute Sunburned Hand of the Man, "The Lollygagger" (Nimbus) 2024 Three-Lobed JARR, "All These Past Lives" (All These Past Lives) 2024 Sound In Silence SUN (Andi Haberl), "Sun" (I Can See Our House From Here) 2024 Alien Transistor Richard Chartier, "variance.1" (On Leaving) 2024 Touch thisquietarmy, "Funiculaire" (Les estampes) 2024 Coup sur Coup Zeena Parkins, "Nightmare Alley" (Nightmare Alley) 1993 Table of the Elements Earth, "Miami Morning Coming Down" (Hibernaculum) 2007 Southern Lord Akira Kosemura and Lawrence English, "Mirroring Feldspar" (Selene) 2024 Temporary Residence Edward Ka-Spel, "The Colour of Sadness" (Heksescapes) 2024 [self-released] Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

Episode 91 The Silent Episode Playlist Morton Feldman, “Intersection” (1953) from First Recordings: 1950s (1999 Mode). Feldman, like Cage, had already been a proponent of including silence in his pieces. Feldman was a part of the Project of Music for Magnetic Tape (1951 to 1954), an artist's collective founded by Cage to explore experiments in magnetic tape music. From this period came several works, the most famous of which was Williams Mix (1952) by Cage. For Williams Mix, Cage commissioned the recording of hundreds of taped sounds by Louis and Bebe Barron and then specified how to splice them together using a daunting 192-page graphical composition created using chance operations. Cage conceived the work for eight tracks of magnetic tape played simultaneously. The other members of the collective, in addition to helping edit Williams Mix, also created some unique works of their own using the same library of sounds. Feldman was one of these composers but took a decidedly different approach than Cage. For Intersection, Feldman used a graphic score composed of a grid, a method he had been testing for various instrumental works such as Intersections No. 1 for Piano (1951). The score could be likened to a sheet of graph paper with one row assigned to each of the eight channels. Each square, or cell, of each row represented a unit of time to be occupied by either a sound or silence. The sounds were assigned only as numbers representing the lengths of tape snippets to be used, thus regulating the duration of individual sounds. The sequence and simultaneity of the audio was dictated by the “intersection” of sounds and silences across the columns of the score. The realization of the piece was left in the hands of Cage and Earle Brown, who assembled the tape segments by following the grid score. The choice of sounds drawn from the tape library was left to the executors of the score. Whereas Cage had not actually specified the use of silence in the score of Williams Mix, Feldman clearly had, and this is evident from the result. Speaking about the piece later, Feldman famously said that he “loathed the sound of electronic music.” He disliked the labor of executing a piece by cutting up magnetic tape and didn't feel the result was justifiably unique. He also said, “John [Cage] says that experimental music is where the outcome cannot be foreseen. . . . After my first adventure in electronic music, its outcome was foreseen.” 3:24 John Cage Variations I from Darmstadt Aural Documents Box 2 – Communication (2012 NEOS). Two Pianos, Electronics, Radio Sets, David Tudor, John Cage. This German disc is part of the Darmstadt Aural Documents projects and features recordings from 1958. This track was of the European premiere of Variations 1 and was recorded at the International Ferienkurse für Neue Musik Darmstadt September 3, 1958. This track is enlightening because it not only contains a work by Cage with purposefully scored silences, albeit by chance operations, but is also a live recording with an audience. You can clearly hear how the audience responds during the silent passages, mostly in their bemusement. Whereas the implied humor was unintentional, I often experienced this phenomenon while seeing a Cage performance. I wanted to include this as an example of what can happen when silence becomes part of a live performance. Chance operations were used to determine the placement and duration of silences. 8:50 John Cage, “WBAI” (1960) from Early Electronic And Tape Music (2014 Sub Rosa). Sine wave oscillator, record player, synthesizer, radio. Description of the piece from the score in the Edition Peters catalogue (1962) of Cage's works: “Certain operations may be found impossible e.g., 3 or 4 at once. Let the operator do what he can without calling in assistants.” Chance operations were used to determine the placement and duration of silences. This performance for sine wave oscillator, record player, synthesizer, radio. Not performed by Cage and recorded in 2013 by participants following the score. Originally presented on WBAI (NY) as a solo work scored for performance with Cage's lecture ("Where Are We Going? And What Are We Doing?"). From the comments of the score: “This composition may be used in whole or in part by an operator of machines.” Personnel on this disc include, Square-wave oscillator, Auxiliary Sounds, Radio, Robert Worby; Performer, Langham Research Centre Auxiliary Sounds, Cassette, Open-reel tape, Radio, Iain Chambers; Synthesizer, Auxiliary Sounds, Spoken Word, Philip Tagney; Turntables, Auxiliary Sounds, Open-reel tape, Felix Carey. 7:04 John Cage, David Tudor, “Klangexperimente (Sound Experiment)” 1963 from Siemens-Studio Für Elektronische Musik (1998 Siemens Kultur Programm). Interesting collection of tracks by a variety of artists invited to explore the technological possibilities of the early "Studio for Electronic Music" built and run by Siemens since 1956 in Munich and Ulm. In the case of the Cage piece, both Cage and Tudor programmed this work using punch cards, an early computer control device. Chance operations were used to determine the placement and duration of silences. 1:58 Henri Pousseur, “Scambi (Exchanges)” (1957) from Panorama Des Musiques Expérimentales (1964 Philips) is an electronic music tape composition by the Belgian composer , realized in 1957 at the Studio di Fonologia musicale di Radio Milano. Pousseur fluidly added silence patches throughout this piece, using them to create tension due to their unpredictable nature. This is an analog recording, so the silences include an abundance of tape hiss. 6:27 Ton Bruynèl, “Reflexen (Reflexes)” (1961) from Anthology of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer's Voice). Recorded in Bruynèl private electronic music studio. Another tape work that shows the potential for splicing in silence as a tool of the composer. The silences are carefully added from about the 2:14 to 4:00 mark to underscore the accelerating pace of the music. Note that the original recording has rumble from what sounds like a turntable, plus tape hiss, so the “silences” are not as abject as they are in digital recordings. 4:41 MEV (Musica Elettronica Viva), “Spacecraft” from Live Electronic Music Improvised (1970 Mainstream). Performers, Alan Bryant, Alvin Curran, Frederic Rzewski, Ivan Vandor, Richard Teitelbaum (Moog Modular synthesizer). The liner notes described the following editing process for this album that includes the random insertion of silent passages within the recorded live tracks: “The tape has been edited and interspersed with silence in accordance with a random number programme to give a representative cross-section of a concert lasting two hours.” 19:50 Maggi Payne, “Scirocco” from Crystal (1986 Lovely Music Ltd.). Composed, engineered, performed by Maggi Payne. This beautiful piece of ghostly, haunting sounds is long enough to create an expectation of a continuous soundscape, only to two drop off in two spots to present long silent or nearly silent passages. 10:26 Mika Vainio, “In a Frosted Lake” from Aíneen Musta Puhelin = Black Telephone Of Matter (2009 Touch). Produced and recorded in Berlin 2008. This piece seems to be about amplitude and inaudible frequencies, frameworked by silences. There is a pattern of eight peak tones from the start to the end of the piece. In between these peaks are quieter sounds and silences, with a tension that leans toward achieving a silent state. 5:53 Giancarlo Mangini, “September 14, 2020, from 4.50a.m. to 5.02a.m. ...and remember what peace there may be in silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. In this work, there is a steady pattern of silences from start to finish, but the duration of the silences gradually increases in many instances as the work progresses. 11:38 Richard Chartier, “Herein, Then” from Other Materials(2002 3Particles). This disc includes is a compilation of tracks and unreleased works from 1999-2001. Limited to 500 copies. Composed, produced, programmed, and performed by Richard Chartier. As with many of his tracks, Chartier explores the outer reaches of human hearing. Many of the sounds in this track cannot be heard when played on loudspeakers with even moderate background noise. There are actually only two spots of abject, digital silence in this track, although due to the low frequency and amplitude of many of the other electronic tones, you might think there in nothing there. This is a clever, psychological trick. 5:02 Marina Rosenfeld, “Formal Arrangement” from Plastic Materials (2009 Room40). Composed and performed by Marina Rosenfeld. Among the various commissions found on this disc is this solo electronic work. A pattern of silences in which 25 evenly-spaced sound events, mostly gong- or bell-like tones, are each followed by a fade and then a discrete, abject silence. 2:35 Tetsu Inoue, “Super Digital” from Fragment Dots (2000 Tzadik). Composed, Programmed by Tetsu Inoue. I knew Tetsu and he would probably be embarrassed to know that I counted every conceivable “digital” silence in this special piece of music. There are 293 of them that I think one can perceive. Many are short, but because silence is an important structural component of this work, I thought it warranted a fresh listen. The longest of these silences is but 2.5 seconds. The shortness of all the tones, either audible or silent, works together to form a unity. 3:39 Miki Yui, “Balloon” from Small Sounds (1999 BMP Lab). Composed, engineered, and performed by Miki Yui. Recorded in Cologne, Germany. The composer wrote, “small sounds are to merge and fuse with your acoustic environment—please play in a transparent level; in different atmosphere.” In this piece, the silences are placed in the middle of sounds to break up an otherwise continuous noise. 2:57 Opening background music: Mooshzoom, “Silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. Plus clips from the following as examples: Amelie Lens, “Resonance” from Contradiction (2017 Second State); Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation: For additional notes, please see my blog, Noise and Notations.  

A Line, a succession of points, a fine line, a route; or many, like when talking about LINE as a label, house, family and source of inspiration founded by sound artist Richard Chartier 22 years ago. Sometimes conceptual, sometimes abstract, sometimes somewhere between the two, or just out of any category, the works published by this label condense a vast and exotic catalogue of sound art, initially created as a division of the mythical 12k, to later become independent in its own search, permeated by a marked but broad vision of sonic minimalism. Among LINE's catalogue, there are true jewels of experimental contemporary music and sound art, such as the legendary Series by Richard Chartier, the compilation Between Two Points, the tribute/non-tribute to John Cage by Lawrence English, and the special Forms of Paper by Steve Roden, considered one of the essential works of the so-called lowercase movement, characterized by music played at low sound levels and lacking in prominence pretensions, a sonic philosophy close to that many of the label's releases. Each release is characterized by always bringing true sonic rarities to the label's universe, one of the most select and diverse catalogues of contemporary sound art, where the meeting of sonority and concept not only satisfies the listener's ears: it extends them, shows something that is very difficult to find elsewhere. This 64-minute mix is a selection of the history of LINE since 2000, focusing on an overlaying of shorter pieces and excerpts to give an idea of the variety of sounds, aesthetics, and compositions of the label. So many of the works on LINE are longer, extended experiences. This is merely a taster. Tracklist: miki yui - schlaf asmus tietchens - parallele ebene 1 oliver thurley - subcutaneous 1b haruo okada + fabio perletta - genkai 12-17+19 (excerpt) norman w. long - return and recovery (excerpt) monty adkins - empire (excerpt) france jobin - scène 3 (excerpt) miguel angel tolosa - salon 20-04 alva noto - interim (for dieter rams) steve roden - airforms (excerpt) robert curgenven + richard chartier - acquisition eviction evelina domnitch + dmitry gelfand - mucilaginous omniverse II (excerpt) masaya kato - m3 lrp-III (excerpt) agf - breathing in lines (excerpt) mark fell - storage 3 porya hatami - 8(kurdhish folk song) emile bojesen - scrape 8 geneva skeen - ii (excerpt) triac - here intro hosoo - p.29 tomoko hojo + rahel kraft - probabilities and possibilities frank bretschneider - circle_cycle ensemble d'oscillateurs - faust: movement 6 (else marie pade) william basinski + richard chartier - untitled 3 [reprise]

Sponsored By Alba Coffee Track List : 01. Steve Reich - Clapping Music 02. György Ligeti – Musica Ricercata II (Mesto, Rigido E Cerimoniale) 03. Terry Riley - In C 04. Arvo Pärt - Summa for String Quartet 05. Philip Glass - Metamorphosis: Three 06.La Monte Young - Composition 1960 No. 7 07. Taylor Deupree & Richard Chartier - specification.six 08. Éliane Radigue - Koume 09. Ryoji Ikeda - Headphonics 0/0 10. Pan Sonic - Radiokemia

Die Brainwashed - Radio Edition ist eine einstündige Show mit Musik von den Künstlern und Labels auf Brainwashed.com. 1. Ulrich Schnauss and Jonas Munk, "Asteroid 2467" (Eight Fragments Of An Illusion) 2021 Azure Vista 2. loscil, "Vespera" (Clara) 2021 Kranky 3. Sophie Fetokaki, "Bist Du Bei Mir" (Outside the Lines Vol. 4) 2021 Nonclassical 4. Female Species, "Stop And Think It Over" (Tale of My Lost Love) 2021 Numero Group 5. Triosk Meets Jan Jelinek, "On The Lake" (1+3+1) 2003 ~scape / 2021 Faitiche 6. Scotch Rolex, "Omuzira (ft. MC Yallah)" (Tewari) 2021 Hakuna Kuala 7. Richard Chartier, "Interreference 7" (Interreferences) 2021 Room40 8. yumbo, "A House" (The Fruit Of Errata) 2021 Morr Music 9. Ancient Loops, "A Portal" (An Abandoned City) 2020 self-released 10. Contours, "Room Cycle ft Seth Sutton" (Balafon Sketches) 2020 self-released 11. Amulets, "Observer Effect" (Blooming) 2021 The Flesner 12. Offthesky and The Humble Bee, "Brittle Arc Of A Nightmark" (We Were The Hum Of Dreams) 2020 Laaps * Sendung vom 11. April 2021 # Brainwashed - Radio Edition Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening. *

Episode 515: April 11, 2021 playlist: Ulrich Schnauss and Jonas Munk, "Asteroid 2467" (Eight Fragments Of An Illusion) 2021 Azure Vista loscil, "Vespera" (Clara) 2021 Kranky Sophie Fetokaki, "Bist Du Bei Mir" (Outside the Lines Vol. 4) 2021 Nonclassical Female Species, "Stop And Think It Over" (Tale of My Lost Love) 2021 Numero Group Triosk Meets Jan Jelinek, "On The Lake" (1+3+1) 2003 ~scape / 2021 Faitiche Scotch Rolex, "Omuzira (ft. MC Yallah)" (Tewari) 2021 Hakuna Kuala Richard Chartier, "Interreference 7" (Interreferences) 2021 Room40 yumbo, "A House" (The Fruit Of Errata) 2021 Morr Music Ancient Loops, "A Portal" (An Abandoned City) 2020 self-released Contours, "Room Cycle ft Seth Sutton" (Balafon Sketches) 2020 self-released Amulets, "Observer Effect" (Blooming) 2021 The Flesner Offthesky and The Humble Bee, "Brittle Arc Of A Nightmark" (We Were The Hum Of Dreams) 2020 Laaps Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

Welcome to the 13th episode of Anechoic Chamber; free-form audio and insights from the margins of art and culture. Our guests for this edition are Evelina Domnitch and Dmitry Gelfand, a partnership known for their advancement of scientific creativity - that is to say, for a series of works that are aesthetically engaging while also being informed by a high level of scientific rigor, and in particular by a specialist knowledge in the limits of perceptibility. The duo's fascinating art events, with alluring titles such as “Mucilaginous Omniverse,” or “Sonolevitation,” are almost unparalleled in the modern art world, owing to their rejection of that milieu's largely linguistic approach to propagating itself and a clearer focus on art as phenomenological study. More importantly, though, they earn their distinction by exploring the so-called “objectless universe, “ exposing audiences to physical phenomena in various transitional states or states of incompleteness. In some cases, their commitment has led to historic firsts, such as the largest display of sonoluminescence ever displayed (this being the emission of light bursts from imploding bubbles within an acoustically excited liquid). Through these actions, Domnitch and Gelfand have also touched upon the sensory condition of synesthesia and raised the question of perceptual modalities beyond the five so-called classical senses. We hope you find the following discussion of their methods and inspirations as stimulating as we do. Additional sounds from the artists' installation / performances "Force Field" and "Mucilaginous Universe," and "Specification Sixteen" (audio by Richard Chartier & Taylor Deupree) from "Camera Lucida" DVD Artist links: www.portablepalace.com Anechoic Chamber links Donate via Paypal: tbwb@protonmail.com general host activities: www.thomasbeywilliambailey.com

CITR’s 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something.This morning's show features JOEL GILARDINI, RICHARD CHARTIER and AMY CUTLER.

Electronic arrangements of the music the piano music of Erik Satie. Pamelia Stickney, Gymnopedie, from the album Gymnopedie (2000) Satie: Gymnopédies No.1 - Cagedbaby Remix (2017) Café Del Mar – Classic, Gymnopedie No. 1 (2002) Gary Numan, Gymnopedie No. 1, (1980) Kurt Riemann, Gymnopedie No. 1, from Electronic Nightworks, 1983 Veetdharm Morgan Fisher, Gymnopedie No. 1 (Festival Soft Fanfare Synthesizer), from Inside Satie (1985) Veetdharm Morgan Fisher, Gymnopedie No. 1 (Sugar Plum Piano/Water Bell Synthesizer), from Inside Satie, (1985) Sky, Gymnopedie No. 1, from Sky (1979) Rod Argent ‎– Gymnopédies No. 1, single (1977) Sweet Female Attitude, Flowers (Solomon's Precious Mix), (2000). Anamanaguchi, Interlude (Gymnopedie No. 1), Endless Fantasy (2013) Patricia Escudero, Gymnopedie No. 3, from Satie Sonneries, (1987) William Basinski and Richard Chartier, Divertissement part 1, (2015) This episode's Archive Mix. These two records are played simultaneously and are not manipulated in any way, leaving all audio and musical interactions to chance. The Camarata Contemporary Chamber Group, Time-Honoured and Instantaneous Hours (1970) + Bayāte Esfahān playing the Nay flute from the album Santur, Tunbuk, and Tar: Music and Drum Rhythms from Iran (1968)

For today’s podcast, we are featuring an outstanding label showcase for LINE, mixed by the one and only Richard Chartier. For this mix, which is also available at Name Your Price on Line’s Bandcamp [I highly recommend you grab the lossless version there!], Chartier showcases works from the most recent and back catalog of his monumental label, in the process creating more than just a label sampler, but a journey of its own. If this is your first foray into minimalism, sound art, and microsound spearheaded by LINE, then strap yourself in as you discover the many intimate layers in this most intricate of genres. The loyal followers of this monumental imprint will be happy to discover a few recent inclusions, such as a piece by Six Microphones, or the most recent release from Joaquín Gutiérrez Hadid, as well as some flashbacks to the earlier pieces by Asmus Tietchens, William Basinski + Richard Chartier, and of course, an appearance by Pinkcourtesyphone. A wonderful exhibition, which, once again, I urge you to support by purchasing this mix, or the albums appearing on it, directly from the label. For a more detailed description, full track listing and more information about this mix, please visit headphonecommute.com

For today’s podcast, we are featuring an outstanding label showcase for LINE, mixed by the one and only Richard Chartier. For this mix, which is also available at Name Your Price on Line’s Bandcamp [I highly recommend you grab the lossless version there!], Chartier showcases works from the most recent and back catalog of his monumental label, in the process creating more than just a label sampler, but a journey of its own. If this is your first foray into minimalism, sound art, and microsound spearheaded by LINE, then strap yourself in as you discover the many intimate layers in this most intricate of genres. The loyal followers of this monumental imprint will be happy to discover a few recent inclusions, such as a piece by Six Microphones, or the most recent release from Joaquín Gutiérrez Hadid, as well as some flashbacks to the earlier pieces by Asmus Tietchens, William Basinski + Richard Chartier, and of course, an appearance by Pinkcourtesyphone. A wonderful exhibition, which, once again, I urge you to support by purchasing this mix, or the albums appearing on it, directly from the label. For a more detailed description, full tracklisting, and more information about this mix, please visit headphonecommute.com

  The 381st of a series of weekly radio programmes created by :zoviet*france:   First broadcast 26 October 2019 by Resonance 104.4 FM, Resonance Extra and CJMP 90.1 FM   Thanks to the artists included here for their fine work.   track list 00 Thee Alex - Intro 01 Jack Finlay, Douglas Grindstaff, Joseph Sorokin - Warp Drive Acceleration #2 02 Evan Parker - Whitstable Solo 5 03 Roger Tellier Craig - Nulle part à trouver [extract] 04 Richard Chartier - (typeof) 09 05 MHZ - Under the Nail 06 Ben Vida - #11 Patch Nine 07 Fossil Aerosol Mining Project - Fugit Fragment 1 (Reegn) 08 Steve Ashby - July 5, 2015 09 Fovea Hex - Glaze 10 NSAE  - The 4th Energy Block 11 Ben Ponton - 78 Lead-in Crackle 12 B.O. du Miroir Onirique - Extrait n°1 13 Henna-Riikka Halonen - 100227_41 14 Mise_En_Scene - -O-R-G-A-N- ++ Thee Alex - Outro … :zoviet*france: - A duck in a Tree Link 381    

TRACKLIST 01 SUPER SUPRE #3 2007 02 BLOW-UP [COH remix for pinkcourtesyphone feat. Kid Congo Powers] 2012 03 DANCING IN SILENCE 2006 04 MAD [with Cosey Fanni Tutti] 2008 05 RETRO TECH OVERTURE 2013 06 OVERBEAT [with John Everall] 2017 07 EXERCISE IN COLOUR [feat. Ann Demeulemeester] 2017 08 EUPHRATES [feat. DAO] 2007 09 ENGINES OF MEMORIES 2016 10 FFFETISH [Vicious Pink cover] 2000 11 BLEAK IS MY FAVOURITE CLICHE [Soft Cell cover, with Richard Chartier] 2008 12 NIGHT RIDE WITH OIRA [COH remix for Hoellenfuerst] 2018

Episode 385: June 12, 2018 playlist: Matmos, "Rainbow Flag" (Supreme Balloon) 2008 Matador Marisa Anderson, "Cloud Corner" (Cloud Corner) 2017 Thrill Jockey Coil, "blue excerpt" (Blue: A Film By Derek Jarman) 1993 Mute Black Spirituals, "Reconciliation" (Black Access Black Axes) 2018 Sige Baby Dee, "Three Men" (Made For Love) 2005 Durtro Meat Beat Manifesto, "Bass Playa" (Impossible Star) 2018 Flexidisc Thalia Zedek, "Candy Says" (You're a Big Girl Now) 2002 Kimchee Ian William Craig, "Red Gate with Starling" (A Turn of Breath) 2014 Recital Program Mark Eitzel, "My Pet Rat St Michael" (Candy Ass) 2005 Cooking Vinyl Abul Mogard, "Half Light of Dawn" (Circular Forms) 2015 Ecstatic Richard Chartier, "Unquiet (for M. Vainio)" (Central (for M. Vainio)) 2018 Line Antony and the Johnsons, "For Today I Am A Boy" (I Am A Bird Now) 2005 Secretly Canadian Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

The end of a year is a popular moment to release a (label) compilation. Sometimes to look back, sometimes to look ahead.... and sometimes just because it's compilation time. Here's an (incomplete!) overview of some recent compilations presenting hours (and more hours) of listening pleasure. VARIOUS ARTISTS - ILLUMINATIONS II Dronarivm kicks off with this New Year Charity Compilation. No less than 30 track and almost three hours of music, priced ridiculously low to begin with... but of course you will want to pay more because of the amount of music, ánd because the profits go to 4Paws for Ability, an organisation that 'enriches the lives of children with disabilities by training and placing quality, task-trained service dogs.' (You can also donate directly of course, but why would you when you're offered a batch of quality music in the process?) The thirty artists presented here show why Dronarivm has become one of the most important labels in the ambient/experimental electronic genre. It's an impressive array of which I will only mention a few names: Aaron Martin, Bruno Sanfilippo, Loscil, Jacaszek, Machinefabriek, Endless Melancholy, Legiac, Offthesky, Olan Mill, Sven Laux, Anne Chris Bakker, Antonymes, Giulio Aldinucci, Pleq, Hakobune, Pausal Chihei Hatakeyama. And that are just 17/30. Even more impressive is the fact that all these tracks are exclusive - they have not appeared on earlier releases before. So this is what we call a 'no-brainer'! If you missed the first (2017) edition of Illuminations with another 28 tracks, you can still download it. It is a Name-Your Price release, but I strongly suggest to double your donation for Illuminations II. Simply because. Illuminations II (The New Year 2018 charity compilation) by Various Artists VARIOUS ARTISTS - FROM HERE TO TRANQUILITY, VOL. 8: THE DARKENED PATH On a somewhat darker note, we find #8 in the From Here To Tranquility series on Silent Records, curated and founded by Kim Cascone. Not specifically an end-of-year release, by the way, but edition 8 in the From Here To Tranquility series. This edition 'addresses the pervasive darkness we find in the world today', and does so with 80 minutes of contemplative soundscapes with a retro-touch by Scott Gibbons, Kris Force, Chris Meloche, Dead Voices on Air, Michal Seta, Pragma, David Metcalfe, Legion Of Green Men, Aume, Meterpool, Mike Rooke and David Lee Myers. Not the most familiar names perhaps, and the music can be quite different in nature (a quiet atmospheric field recording track by Chris Meloche can easily be followed by a rather aggressive noise track from Dead Voices on Air), but you can simply count on Kim Cascone's experience in selecting quality sounds. From Here to Tranquility - Volume 8 (the darkened path) by Various Artists VARIOUS ARTISTS - STEEL - DRAGON'S EYE TWELFTH ANNIVERSARY Not exactly a year-in-retrospect compilation, but an album to celebrate the twelve years of existence since Yann Novak relaunched his father's record label Dragon's Eye Recordings. The 'steel' in the title is 'named after the traditional eleventh anniversary gift (due to miscalculation and a love for the cover art by Jake Muir)'. A 'variety of styles, processes, practices, techniques, and most importantly points of view' is presented in this Name-Your-Price download featuring unreleased tracks by artists that recently released work on the label. Such as: Steve Pacheco, Tobias Hellkvist, Robert Crouch, Yann Novak, Jake Muir, Fabio Perletta, Geneva Skeen, Mark Kate and wndfrm. 78 Minutes of sheer minimalist joy. Steel: Dragon's Eye Twelfth Anniversary by Various Artists VARIOUS ARTISTS - RUSTED TONE SAMPLER I Rusted Tone Recordings does not look back to 2017 because it did not exist in 2017. It is a new independent label, curated by James Armstrong, 'specialising in ambient, drone and experimental music'. Judged by this introduction sampler the label will definitely be worth keeping an eye on: it introduces artists that will be releasing albums on Rusted Tone in the coming year. Think: Darren Harper, James Osland, Wil Bolton, Green Kingdom, Spheruleus - along less familiar names like Gallery Six & Oblivia, Net, Kepier Widow, Saltings and Kevin Buchland. Suffices to say this introduction succeeds in raising interest for the label! This, too, is a Name-Your-Price download if you want. But please keep in mind that proceeds 'will go towards supporting physical releases and sustaining Rusted Tone Recordings.' Rusted Tone Recordings: Sampler Vol. 1 by Various Artists VARIOUS ARTISTS - GRENZWELLEN I A somewhat different beast (and with that I mean considerably less ambient) is this massive compilation supporting the German radio show Grenzwellen, hosted by Ecki Stieg and broadcasted on Radio Hannover. Grenzwellen started in 1987 so it exists for more than thirty years now! It can be heard every wednesday for three hours starting at 9 pm CET via the Radio Hannover livestream. But even if you can't listen to their show this compilation is a great introduction to the music that can be heard on this show. Almost 4 hours of all kinds of experimental/electronic music in a mix of well- and lesser-known artist. I won't mention them all, but here are just a few of the names that I recognise: Giulio Aldinucci, Gabi Delgado, Ulrich Schnauss, CEEYS, Marsen Jules Trio (with a 15 minute string version of Étoiles de la Nuit), Bersarin Quartett, Bartosz Dziadosz, Hecq, Arovane,Hans-Joachim Roedelius, Sven Laux, Sankt Otten, Markus Guentner, Richard Chartier, Hotel Neon. 31 Tracks, and most of them previously unreleased. Grenzwellen host and compilation curator Ecki Stieg advises to play the compilation in its entirety: "please listen in the order given. Don't use the random button!." Grenzwellen Eins by Grenzwellen VARIOUS ARTISTS - MUSIC FOR ELEVATORS And, while on the subject of massive compilation projects this one cannot stay unmentioned. Only recently I became aware of a series of (free download) releases by the Mahorka netlabel called "Music for Elevators." A nice reference to many ambient "Music for ..." releases, as well as to 'Elevator Music' - which is usually referring to anonymous 'Muzak'. The first edition of this series was released way back in 2002, followed by Vol. 2 in 2005, Vol. 3 in 2007, Vol. 4 in 2012. The three-part set Vol. 5, which is said to conclude the series, was released in 2017 (Part 1, Part 2, Part 3). You can still find the complete set online: the first four editions can be found on Archive.org (free downloads), the three-part Vol. 5 on Bandcamp (Name-Your-Price). So that is quite an impressive batch of unknown music to discover. Unknown - because in the tradition of netlabels, Mahorka presents the work of artists that are largely unknown - with the occasional exception depending on how 'deep' you are into the scene. "You are on board for a pushing all kinds of boundaries trip through what ambient music can be and what can be ambient music." 'Ambient' is not a very strict definition here, probably 'experimental electronic' would have been a more appropriate label. There are quite a few tracks that would probably scare the hell out of any ordinary citizen who got stuck in an elevator. But in a collection like this, everyone will find a lot of sounds to his/her liking! Music For Elevators Vol.5 (Part 1) by Various Artists

Computer matrimony, floating outside of time, lounge music for fluorescent light tubes. The Los Angeles-based artist talks about three important albums.

I am super excited to welcome the one and only Richard Chartier back to the mix series. Not even as Pinkcourtesyphone, of whom, I am undeniably a huge fan, but as Richard Chartier himself, which is a rare treat indeed. For exactly two hours, Chartier collects his latest favorite pieces to weave in a fabric of textures, featuring many of our beloved artists previously appearing on Headphone Commute, plus a few more records that we need to check out! This is a sonic treat which is simply wonderful with a great pair of headphones! Enjoy! For full track listing and more information about this mix, please visit headphonecommute.com

The 222nd of a series of weekly radio programmes created by :zoviet*france: First broadcast 8 October 2016 by Resonance 104.4 FM Thanks to the artists, sound recordists and the sound designer included here for their fine work. track list 01 Dave Dorgan - Music in the Middle 02 Psychophysicist - Sacred Laboratory 03 Stéphane Marin - Vent d'Ange 04 :zoviet*france: - Ponderosa [b/f] 05 Zap-Pascal - Harmonious Thread 06 Penumbra - Spatial Exstasy 07 Matthew Atkins + Harvey Sharman-Dunn - Quiet Buildings Pt 1 08 Skag Arcade - Intermediate States (Kyema, C.M.K.J.) (Inner Sunset Take) 09 Cheapmachines - Subfusc 05 10 Richard Chartier - (typeof) 07 11 [unknown sound designer / Hanna-Barbera] - Arrow, Cartoon – Bung Zip Bow; Arrow Swizzle In; Arrow Hit; Arrow Hit 12 Elm Records - Reykjavik Breaking Ice 13 Quiet American - Hissing, Leaking Rubber Pipe, Annapurna Region, Nepal 14 SiJ - Frozen Azure Sea 15 Ennio Mazzon - Silea

The 199th of a series of weekly radio programmes created by :zoviet*france: First broadcast 30 April 2016 by Resonance 104.4 FM Thanks to the artists and sound recordist included here for their fine work. track list 01 Philippe Petit - You Only Live Ice (Part I) 02 AUME - Appello Undisonus Mundus Exquisitus (Summoning the Resounding Waves of a Universe Exquisite) 03 Darius Ciuta - CtO [extract] 04 Cheapmachines - Subfusc 06 05 Richard Chartier - (typeof) 05 06 Mise en Scene - Intermittent #2 07 Fossil Aerosol Mining Project - Third Day 08 Sabi - Wet, Soft Coteau, Carps 09 The Sunken Hum - The Sunken Hum Broadcast 318 – The Wild Wild Ocean – 14 November 2013 10 Illusion of Safety - Stillpoint

Once again I am honored to host a mix from Richard Chartier, who has appeared on this program back in January of 2012, with A Wintery Mix. This time around, Chartier offers a mix under his Pinkcourtesyphone moniker, a DJ name he’s used in mid 90s, and an alias which he has currently resurrected for his solo releases. This is a gorgeous journey through an eclectic selection of Chartier’s favorites, which requires no words. Just music... Please enjoy responsibly and support the featured artists! For full track listing and more information about this mix, please visit headphonecommute.com

The 102nd of a weekly series of radio programmes created by :zoviet*france: for Basic.fm. First broadcast 21 June 2014. Our thanks go out to the artists and sound recordists included here for their fine work. track list 01 Djivan Gasparian - My Home 02 [unknown sound recordist / BBC] - Ext: Fast Pass Left to Right 03 [unknown sound recordist / BBC] - Zaire: Street 04 Sun City Girls - Brahmaputra Plutonium 05 Mikael Stavöstrand - [untitled] 06 Jeremy Keenan - CGMS-10 07 Decal - Moylough 08 Annie Johnston - Bird Imitations 09 Lawrence Shove - Stone Curlew 10 [no artist - Lovell telescope, Jodrell Bank Centre for Astrophysics] - PSR B0531+21 (Crab Pulsar) 11 Richard Chartier - evp.re (2011) 12 Francisco López - untitled#100 (2000) 13 Pinkcourtesyphone -  I Wish You Goodbye (with Evelina Domnitch) 14 Artificial Memory Trace - Afridawn [extract]

Today we are honored to share with you a special mix from Richard Chatier. With numerous releases on his very own LINE, as well as 12k, Raster-Noton, Room40, Spekk, Die Stadt and many other experimental labels, Chartier is a highly regarded sound artist, manipulator and sculptor of ambient, minimal, and reductionist electronic music. I could continue spewing praise, but will opt for 'less is more' aesthetic, letting music speak for itself, in honor of the master. For full track listing and more information about this mix, please visit headphonecommute.com

This installment of the show features the ultra-quiet and near silent sounds of Onkyo, microsound, and lowercase sound with selections by Filament, Jazzkammer, nmperign, Richard Chartier, Asmus Tietchens, and (naturally) Francisco Lopez. Don your headphones and listen carefully.... The opening music is Alva Noto, Track 3 [Untitled], Prototypes (Mille Plateaux). Rare Frequency Podcast 6: The Quiet One You can subscribe to the Rare Frequency podcast through iTunes or Odeo.