PinkcourtesyphoneElegant & DetachedRoom40
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. – Ryan Potts, Experimedia 

Pinkcourtesyphone
Elegant & Detached

Room40

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. – Ryan Potts, Experimedia 

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