Richard Chartier
Subsequent Materials (2006-2012)

LINE_066 | Digital | Open Edition | March 2014

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.


01  pre-incidence (2006) 17:36 (previously a digital bonus via LINE)
02  a field for recordings 3 (2007) 08:04
03  (sketch for) deletion (2007) 06:00
04  specification.sixteen [with Taylor Deupree] (2007) 08:54 (previously unavailable)
05  a field for recordings 2 (2007) 08:43
06  retrieval path (2007) 11:26
07  (sketch for) deletion 2 (2007) 04:28
08  sonolevitation [with Evelina Domnitch & Dmitry Gelfand] (2009) 06:32 (previously unavailable)
09  fly08 soundtrack (2010) 03:00 (unreleased)
10 [rework of Autistici] (2010) 09:16
11  rendered 1_09 (2011) 07:44
12 (2011) 06:28
13  feedback [with AGF] (2011) 20:09 (previously a digital bonus via LINE)
14  intro_outro themes for Smithsonian (2012) 00:34 (unreleased)
15  threshold (2012) 10:00 (unreleased)
16  recurrence (stereo reference mix for Akousma at EMPAC) (2012) 15:00 (unreleased)
17  recurrence ( (2012) 34:32 (previously a digital bonus via LINE)

Richard Chartier (b.1971), sound and installation artist, is considered one of the key figures in the current of reductionist electronic sound 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 including the 2002′s Whitney Biennial 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. In 2010, Chartier was awarded a Smithsonian Institution Artist Research Fellowship to explore the National Museum of American History’s collection of 19th-Century acoustic apparatus for scientific demonstration. Chartier currently lives and works in Los Angeles.


… fitting together perfectly as a sampler of Chartier's ingenious "reductionist" electronic soundworks.


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 (,” the collection provides a forum for exhibit of the extent of his reductionist approach to electronic sound.