1st CD release. packaged in colored C-folded paper sealed with black printed sticker. Information sticker on interior. later remastered and reissued on 3particles.
… impossibly extreme tonal stuttering that can only really be fully appreciated on a good set of headphones. Considerably more minimal than Panasonic/Ryoji Ikeda et al, it has the heavy malevolent air of late night wiretapping.
—The Wire, UK
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…a remarkable album that seems to be a soundtrack to a wall-socket, or the emissions and discharges from some abandoned powerhouse. You are unlikely to hear an album of this genre that is as consistent, mature, and totally immersive.
—Ambience Magazine, Australia
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…reminds me of Sahko’s first output. Very minimal electronic noise, at first to hard to get your ears on, which desperately seek for structure. Harsh bleeps and ultra deep basses flow around, strawling around in the deeper insides of sound. A deep album, which will please lovers of Pole, Monolake and Fatcat’s more minimalistic output.
—Forcefield, The Netherlands
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… ascetic pieces which are demanding as the most arcane free improvisations. resolutuly abstract, the album is often beautiful but also terrifyingly bleak. only on ‘slow end’ does the music start to radiate any warmth, but i find myself returning to it again and again.
—Resonance Magazine, UK
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Ikeda…Guenter…Meelkop…Rehberg. Chartier takes inspiration from these people…but adds his own voice, one that is certainly throughout more varied in the sounds and compositions. A nice cross-over between anything on Trente Oiseaux and Mego…
—Vital Weekly, The Netherlands
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… focuses on on minimal sonic drones, low frequencies and their manipulation through filtration. This CD contains thousands of random bleeps and bloops and other sounds, as well as layers of fuzzy digital distortion. There is no structure here, no rhythm whatsoever. direct.incidental.consequential is as ominous and intense as possible. It more abstract than Oval, to m
ake one connection. That being said, it’s quite refreshing to hear new and original experimental music.
—Frequency Magazine, Canada
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…the soundtrack to the power outlets the computers are plugged into. …hums, drones and occasional blips and scrapes create the kind of fragile soundscape.. it definitely fits the into the “immersive experience” genre if one exists. Chartier has created an aural experience that is almost physically draining.
—Drawer B, US
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much of this disc inhabits the extremes of the audible frequency spectrum… often not heard as much as they are felt… music with a real, physical presence, a presence that cannot be ignored, even if it cannot always be heard.
—Aegri Somnia Vana Magazine, US