Charles-Eric Charrier – Oldman (Joint Venture Records)

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Charles-Eric Charrier – Oldman (Joint Venture Records)

It’s come to the time of year again, when I become an expert on the geography and chateaus of France, for three weeks. I’ve hovered high above the Pyranees, explored the baking hills of the Tarn region and appreciated the Atlantic coast of the Vendée. Anyway, that’s quite enough about Le Tour de France. Oldman is Charles-Eric Charrier’s most intimate and stripped back release, a sparse and sober departure from the rich jazz-inflected post rock found on Silver. Commissioned by the Joint Venture label, Charles-Eric finds psychogeographical inspiration from the Vendée region of his youth,

“The warm moon,
The strings of the fishing nets,
Beat the rhythm”

Charles-Eric’s Gitane-soaked baritone links images of vineyards, the smell of motors and summer scythes, adding a spacious, resonant bass guitar, plus the occasional handclap, cello and overdub. Made within certain constraints, Oldman showcases the strength and rich variation of Charrier’s musicianship and writing.

The creaky chair, the sound of his breath, fingers scraping on tightly wound bass strings —there is little artifice present, just a musician in a room for one day, laying down an album with the simplest of means. From the opening bars of “Rudy”, I’m reminded of Will Oldham’s second Palace Brothers album (sometimes called Days in the Wake) Charles-Eric establishes the albums distinctive sonic signature, as soaring bass runs and room resonance are counterpoised. “Spider” is a melancholic, hypnotic and insular journey into arachnid themes, as the cascades of minor key bass play out a peculiar indie-influenced chanson. The 90-second instrumental sketch “D’ou vient le vent?” ends abruptly, as if Charrier simply hasn’t developed the tune any further. Fitting in perfectly with the overall feel of the album; why pad out what is, with what is not necessary? A similar ethos prevails on “Abdelatif Charrier” as Charles- Eric’s wife Beatrice Templé joins in with some uncredited Cello, for a richly dynamic interplay that ends almost before it begins, leaving a pregnant pause before launching into the next number. With some hints of the song writing found on Silver, “Respirer”, introduction of deep ululations and clockwork vibes is slowly ratcheted into a tense space with urgent, discordant cello. I could almost imagine “The Little Engine that Could” of children’s book fame puffing along with Charrier on this number.

Mixing melancholy, melodicism and a masterful grasp of his instrument with the odd haiku-inspired quatrain, Charles-Eric removes many of the layers and nuances found on Silver, yet succeeds in revealing his songs in a way that few artists would have the purity of vision to execute. There are hints of Scott Walker, French Chanson, and Phil Ochs in the sparse warmth of Oldman, there are echoes of alternative guitar wranglers and jazz idioms in his playing; Charles-Eric Charrier’s singleness of vision revealed on this album is startling. Oldman comes as a limited release, including a booklet of drawings and lyrics, and also as a “budget” version of 100, excising this alternate path into Charrier’s universe. You can check out Joint Venture Records bandcamp for further information.

Oliver Laing

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Music Obsessive / DJ / Reviewer - I've been on the path of the obsessive ear since forever! Currently based in Perth, you can check out some radio shows I host at http://www.rtrfm.com.au/presenters/Oliver%20Laing

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