Elegant & Detached
Room40 (Australia) / CD / Sept 3, 2012 / listen + purchase on Bandcamp

This is the second full length call from the Pinkcourtesyphone-line; a loquacious interlude on beauty, place, and obsession. The callers voice whispers a wistful yet false love-letter to the cinema of aesthetics from a distant place concerning the things you did… and things you need to have done.

TRACKS:
1. petraglyph (for Ranier).  12:14
2. sans motif / closer to here than you care to be. 15:03
3. an awaiting room (for Tati) / stars fell. 23:20
4. millimeters off / non us (tiny). 11:54
5. sans many things (bedtime). 09:00

A: “i’m a model… and sometimes an actress too…”
B: “you certainly are.”

REVIEWS

More soundsourcery this time from from sound and installation artist Richard Chartier, lovely, dark, spooky electronic drifty stuff with intermittent blasts of unexpected sound.  The general feel is of soft washes of sound, the late night hum of factories, the sea, the waves, the thrill of electrical wiring. There are plenty of undulating synths, interrupted by disembodied voices, footsteps down the hallway, late at night. It’s a ghostly album full of buried sounds, lots of half heard noises, like attempting to sleep in a big old creaking house. The usual suspects of Nurse With Wound can be used as a reference but also the modern day composition of Celer and Bvdub are heard in the pastoral stillness.
Norman Records, UK

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The sounds themselves are certainly different, but Richard Chartier’s second full-length under the Pinkcourtesyphone moniker retains every bit of the mysterious and exploratory nature we are used to hearing under his given name. However, the mood has shifted drastically in adopting a dark, shadowy feel that brings to mind a less-intense Deathprod or a more active Thomas Koner. The dominate sonic material on Elegant and Detached is a wash of reverberating static that sounds equally like distant radio frequencies and wind rushing by an abandoned microphone. Though this is heard on all five of Pinkcourtesyphone’s tracks, Chartier does find space to enter into more familiar territory, particularly with the crumbled synth tones on “An Awaiting Room (For Tati)” and the encroaching digital glitches of “Millimeters Off / Non Us (Tiny).” Despite the differences with his usual approach, the same rules apply: detailed listens will be rewarded.
— Experimedia

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Elegant & Detached, the full length album on Room40, is consistent with the first PCP album, Foley Folly Folio in its use of more relaxed, but still challenging tones and electronics.  The use of various actress dialogue samples emphasizes the PCP aesthetic of electro acoustic music for bored 1950s housewives who love wine and barbiturates.  This sensibility stretches into the music rather well:  the echoing and processing used throughout "Sans Motif/Closer to Here Than You Care to Be" encapsulates a disoriented, valium like haze that drifts into self-aware new age camp towards its conclusion.  "An Awaiting Room (for Tati)/Stars Fell" has a sound that covers Chartier's solo work and this project, with its crackly, low end textures at its opening, being more in line with his more formal material.  As it goes on, the sound becomes lighter and buoyant via heavy reverb and echo, with the string flourishes that appear toward the end adds in just the right amount of kitsch.  Hinting at the future is the closing "Sans Many Things", which features a more structured series of thuds and fragments of digital bells that, even through its DSP heavy sound has a deconstructed minimal techno feel.
— brainwashed.com

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Chartier takes a tangential trajectory to his usual electronic minimalism. The music is dreamy, evocative, with sonic transformations more poetic than formalistic. Significantly more accessible, almost facile at times, though we never leave the experimental music territory. A very enjoyable listen—honestly, Elegant & Detached’s 71 minutes went by very quickly.
— blog.monsieurdelire.com

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on Elegant & Detached: Pinkcourtesyphone is very cinematic to me and it’s easy to imagine something dark going on in a black & white movie with wonderful stars from the past, you know the way they don’t do them anymore…

The first track “petraglyph (for Ranier)” starts with a womans voice speaking German with a delay/echo on her voice so you just can make out what she say’s. And i have an inkling to that the Rainer mentioned in the title has something to do with Mr. Fassbinder and his film “Die bitteren Tränen der Petra von Kant“. And if that is so and you know your Fassbinder you also get the picture about something dark going on… Well this bitter sweet track drifts along a drone like bass that just adds to the charm while that females voice repeats it self at times during it’s 12:14 minutes.

And so this album goes along with even more cinematic paraphernalia, masterfully crafted sounds and field recordings with a never dull moment ever!You are left wanting more when this album closes with the track “sans many things (bedtime)” a rhythmic track considering what you might be used to from Mr. Chartier. A thumping dark sound repeats it self together with a sort of synced ping sound and electric currents adding to the drama just to ebb out to almost from here to eternity while sitting on the edge of forever…

And I’m not going to write about the other very beautiful tracks of this album just to keep you curious and will leave you with the short version of what you will get when buying this album... Very pretty, Pretty-Pretty…
—impuls-media.net

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Este es el hilo conductor que lleva al segundo trabajo de Richard Chartier a incorporarse dentro de un sello tan cercano musicalmente y que él bien ya conoce como es el australiano Room 40, sello regentado por otro garn nombre del género ambiental como es Lawrence English, donde ya editó en nombre propio “A Field for Mixing” (2010). Al mismo tiempo,  Chartier abre las puertas de su casa editorial Line para que Lawrence English debute en éste con “For/Not For John Cage”. Si nos adentramos en Elegant & Detached, podemos imaginarnos coo Chartier evoluciona su obra bajo unos parámetros cercanos a The Caretaker , aunque con influencias distintas, que buscan en la elegancia de las imágenes de otras épocas el lugar donde recrear bandas sonoras imaginarias. Es como reimaginar aquellos universos desde ángulos imposibles en aquella época, para ello deja que largas composiciones nos dibujen ese espacio y nos introduzcan en esa atmósfera intercalando voces y mensajes crítpticos.

 

La línea en este segundo trabajo, tiene una llamada desde latitudes germanófilas con “Petraglyph (for Ranier)” (y yo me pregunto, ¿será Fassbinder?) donde las voces navegan sin encontrarse y llegar a establecer un diálogo, distantes ecos flotan entre las atmósferas creadas en esa suerte de sueño al que nos hacía referencia en su definición del disco. Aunque se hable de azucarado, hay lugar para las pesadillas y la intriga al final de este tema, convirtiendo los ecos en reverberaciones que encierran atmósferas cercanas a lo mortecino y casi salpicado en ese tramo por Kreng o Blackest Ever Black. Descorazonador. La segunda, no lo es menos. “Sans Motif/ Closer to Here than You Care to Be”, el tono atemorizante y pesadillesco con el reloj resonando va abriendo camino a un tono dulce y neoclásico que te envuelve hasta de nuevo dejarte caer hacia un pozo donde vuelve a tomar ese tono cercano a The Haxan Cloak o Raime, aunque esos breves apuntes no dejan que la tragedia suceda, más bien acaban siendo como una pesadilla y cuya sensación de bienestar al escapar de ella es la que se apodera del final de la composición, un drone cristalino y elevador. “ An Awaiting Room (for Tati)/ Stars Fell” (ahora nos preguntamos, ¿Jacques Tati?) es la más extensa dentro de éste disco y la verdad, es imposible definir en pocas palabras las sensaciones y atmósferas que encierra este corte.

 

Quizás, es también parte del juego que nos propone Chartier con este alias, suceder atmósferas e interpretar distintos registros casi como se tratase de la sucesión de escenas del cine y bajo su óptica cabe la belleza, debe enfrentarse también a lo desconocido y reconocer sus propios miedos. Es una virtud, que lo aleja de los discos de preciosismo ambient que se han ido acumulando en diferentes sellos durante los últimos años. “Elegant & Detached”, tiene la virtud de escaparse de todo ese pelotón e imaginar nuevos lenguajes dentro del género. Prueba de ello, “Sans Many Things” . Pieza que expande toda esa dinámica rítmica oscurantista a la que hacíamos alusión anteriormente y que lo acerca a Coil, Mordant Music, Vatican Shadow, Blackest Ever Black, Silent Servant pero obviamente sin la agresividad obsesiva de todos ellos, más bien remitiéndonos a su faceta ambiental. Cuando termina este disco, te gustaría ser capaz de decir muchas cosas al igual que la voz perdida que lo cierra, pero no se decirte cuales son ni cuales vas a ser capaz de imaginarte, pero te recomiendo que las descubras.
— conconceptoradio.net

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Elegant & Detached ha preparado un cóctel de sonidos extraños, habitaciones nocturnas, voces susurrantes, desde la distancia y con una distinción misteriosa. Largas piezas de ambient fantasmagórico, ecos lejanos de fantasmas. Un clima que a veces llega a ser sofocante, lejos del mutismo que le es propio, en donde construye jardines rotos de partículas desintegradas, ambientaciones de escenas sin lógica aparente, donde no importa que se dice sino como se relata la historia. Accidentes y cuadros fracturados en la mitad de la noche iluminada. Cada trazo esta ubicado debajo de una capa de ruido sucio, que a su vez se ubica por sobre otra capa más, y así hasta más no poder, actuando como filtro contra la mugre que de todas maneras permanece como una presencia asombrosa. “Petraglyph (For Ranier)” se inicia con una voz incógnita hablando en lengua alemana, y tan pronto se calla, comienzan a arrastrase las láminas de texturas ásperas. Así es como el sonido se sucede, arrastrándose por el suelo, empujando las notas con una letanía de un muerto viviente. “Sans Motif / Closer To Here Than You Care To Be” también contiene samples de personas anónimas, desconocidas al menos para nosotros. Las cosas no son lo que parecen. a ratos simula ser un techno desprovisto de cualquier ritmo, a veces muy similar a los paisajes gaseosos de Wolfgang Voigt, una presencia siempre en la sombra de la electrónica espectral. Recursos sacados de discos de exótica, residuos de un sonido resquebrajado. “An Awaiting Room (For Tati) / Stars Fell”toma ese sonido desprolijo, como una demo mal grabado, característico de Rhythm & Sound, y lo lleva hasta un lugar mas frío, y luego aun más allá: son tres partes en una sola pieza -esta, de veintitrés minutos-. “Millimeters Off / Non Us (Tiny)” traslada el misterio hasta un estado opresivo, la más abrasiva de todas, estado que se ve distendido con “Sans Many Things (Bedtime)” y unos textos, siempre femeninos, que cierran la habitación por fuera, sin saber como estos susurros se cuelan por debajo de la puerta. “La voz de las personas que llaman susurran una nostálgica pero falsa carta de amor al cine de la estética de un lugar lejano sobre las cosas que hiciste… y las cosas que necesitas que se hagan”Elegant & Detached fue, es, un disco que exacerba las posibilidades seductoras de la otra ruta seguida por Chartier.
— hawai.wordpress.com

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Il nuovo alias di Richard Chartier denota una volontà da parte del musicista americano di dare una svolta alla sua carriera: dopo aver indagato l’immaterialità del suono, Chartier sembra ora interessato all’organicità del mondo materiale. La prospettiva è comunque quella di un artista attratto dai processi astrattivi e dai labirinti della mente, anche se la pasta dei suoni con cui Pinkcourtesyphone colora le cinque tracce di Elegant & Detached sono caldi come mai lo sono stati in passato. Voci trattate, drones accecanti, rumori che si specchiamo quelle di Chartier sembrano descrizioni di sogni ad occhi aperti. IL NUOVO CORSO DI UN VISIONARIO.
— rockerilla.com

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Elegant & Detached is the second album by american soundartist Richard Chartier under his moniker Pinkcourtesyphone. In contradiction to the minimalistic works i know under his name of birth, these tracks not only sound nearly orchestral by the use of big reverbitory rooms. The mysterious cimematic ambiences and gloomy, dreamlike blurred and blown away loops-based drones made of field recordings, synth sounds and ingeniously applied (rhythmical) noise along with vocal samples from Fassbinder films are utterly atmospheric creating a strong effect.
— de:Bug, DE

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Compared to the works he releases under his own name, the Pinkcourtesyphone obviously gives room for some more playful, associative and humorous soundscapes... But that does not mean these soundscapes should not be taken seriously: they are very adventurous and cinematic, so this 70 minute album is a delightful pleasure to listen to.
— ambientblog.com

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has the lightness of swedish Air France and sublime taste of 60s cinema. Hitchcock on top form. #13 on TOP 15 AMBIENT ALBUMS OF 2012
—eyebient.tumblr.com

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... it is with a certain happiness that we observe that Elegant & Detached is a disc built on a solid constitution and its beauty goes beyond such platitudes. Made of samples, field recordings, cavernous electronic processing and using voice to add an additional aesthetic but is by no means "filling". Indeed, each sound element of the music of Richard Chartier are inseparable and does not resemble overlays as is often the case. A work with strong tonal accents, Elegant & Detached offers innovative aesthetics that even, at low volume, remains the same and is filled with nuances, textures, a refined construction and the work on the voice is most judicious. So yes, the terminology used for the name of the album is most suitable. It is about elegance and self-detachment. Chartier acts to re-give meaning to ambient, giving it the colour it should have never lost before falling into a lifeless greyness . In fact, this kind of reaction is not unique and there is not only Richard Chartier left to worry about the renewal of the idea of "ambient", but Elegant & Detached is among those, offering the best tracks.

—liabilitywebzine.com

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a beautiful work that's perhaps too remote & unemotional... It’s quite a beautiful, august and slightly unsettling recording at times, but whether many listeners will play it often, apart from the odd art gallery opening or two, is another issue."
—thesoundprojector.com