CD - Room40
After activating the player, all you hear in the room - a place dedicated to listening - is the laptop fan and some noise coming from the road, and no sound from the speakers. Four minutes pass before you begin to hear something in the background. A carpet of sound slowly creeps in; dilated and ethereal. "A Field For Mixing" by Richard Chartier, indulges in microsound intransigence, connecting with the more extreme and purist minimalism, one that identifies silence as an essential condition of sound. This hypothesis (seen from John Cage onwards) has been tinged with abstract and conceptual experimental traits that have created a real aesthetic, philosophical and linguistic revolution. Nowadays it takes on other meanings - of course - to still experience the void in music: it forces us to "theoretical" positions and to environments close to the "fuzzy" sets that are no longer opposed in a logic of fullnesses and voids, but balanced, on the contrary - as in this case - in a continuum of drones and auditory forms, artfully made metamorphic, indistinct and neutral.
Aurelio Cianciotta