Recording
Postfabricated
1999

Microwave (Netherlands) (M004)
CDr / edition of 222

“a pop record.”

  1. Enter (0:10)
  2. Entershift (2:08)
  3. Chlorine (4:22) 
  4. Notes (3:52)
  5. Articl (4:04)
  6. Puls (0:59)
  7. Lint (1:36)
  8. [.]#2 (4:29)
  9. Subscript (1:13)
  10. Intf B (0:59)
  11. [.]#3 (10:10)
  12. Hiwave (1:04)
  13. Pop (1:34)
  14. [.]#1 (2:42)
  15. Empti (0:27)
  16. Inter (2:21)
  17. 10env (2:02) 
  18. Bit (1:13)
  19. Plic (0:24)
  20. Secint (1:39)
  21. [.]#4 (3:10)
  22. Fop (2:07)
  23. Endn (0:24)

Reissued/Remastered and remixed in 2005 as RePostfabricated

Reviews
1999

Richard Chartier is at the forefront of this group of explorers who share with us their fascination with sound: its frequency, spatial characteristics, and its enviroment. A primary preoccupation is with ‘texture’, an interest that links his works as a sound artist and painter. Recommended.
—Head Magazine, UK

+

Peintre et compositeur ultra minimal R. Chartier s’exprime dans les spheres artistiques et il faut beaucoup d’attention et de volonte pour penetrer son univers. Reserve aux plus receptifs, qui voudront bien pousser le volume et l’ attention au maximum pour discerner les subtilites de R. Chartier. Less is More… Parfois…
—BIP HOP, France

+

wonderful electron-eye-view of clicks/whirrs/pops/buzzes making new rhythms and pingscapes to tickle the ear. Richard keeps the palette fresh by his variety of processing techniques, and clocking in with 23 tracks, there’s something for everyone. He maintains a balance between patterns of pips and blips and more abstract tonal swirls, with some rich frequency phased beats playing Escher tricks with your mind. It’s a departure from Richard’s earlier work on Intransitive, which created warm drones and low end throbs. For me that release reminded me of a microscopic journey through the circulatory system. The fluidity of that work is replaced by a crispness, a less dense body of work that doesn’t compromise on complexity. It’s a signal > impulse, neural network of processed small sounds that reveal a myriad of inner worlds to explore.
—Paul Gough/Pimmon, Australia

+

Like radio-wave transmissions from aliens in a far off galaxy, communicating with crisp electronic blips and then disappearing into the ether…gives chills.
—Vinal Edge, US

+

…a somewhat more subtle nature. The 23 tracks have a lot of rhythmical elements, but it is always clear that this is not dance. This is microwave in its purest form: crackles, bleeps and hisses are used to build simple, but ever so delicate structures, that fade in & out of consciousness. This is real head phones’ stuff and again this is all very good for sampling and remixing.
—Vital Weekly, The Netherlands