Third week running with a review of a solo project, and this one’s totally unlike the other two. The effort of one Charles Eric Charrier, formerly of MAN, this cd traverses somewhat unusual territory for solo work. Essentially a modest one-man foray into post-rock zones, this is a successful release and one that should find many happy listeners out there. It’s no surprise that Charrier has done some collaborative work with Rob Masurek, as there are numerous Tortoise reference points here. In fact, it’s a bit tough not to listen to this and see it as a poor man’s version of early period Tortoise. And for the record, let’s be very glad it’s not later period. Given the signposts, it’s clear this cd is tethered to a distinctly post-rock aesthetic. Moody instrumentals, repetitive rock figures, and flirtations with “jazziness” abound. To his credit, Charrier’s quite good at what he does. He appears to do almost everything here (a few guests do appear on occasion, but it’s clearly his show), from bass to drums to guitar and organ, with submerged vocals appearing occasionally (though these seem be sampled). Nothing seems forced, and he’s in command of the whole thing without ever seeming to break a sweat. Subtle FX and assorted sounds float atop the mix adding some necessary tension in spots, and generally keeping things interesting.

The success of the individual six tracks varies, and yet a sustained mood is successfully maintained throughout the entirety of the disc. The opening track, “broken teeth” is quite simply a stunner. Its strength is in the fantastically simple yet rich bass line that evokes the buoyancy of Ronnie Boykins in ESP-era Sun Ra recordings. A perfectly minimal guitar line enters but never takes the focus away from the quietly insistent bass repetitions. It’s the kind of track that pulls you into its hypnotic dance and demands endless repeated listens. In fact, the track is so good that it sets the bar impossibly high for the rest of the cd. And this is where Oldman stumbles a bit. The highs are so high (particularly on that first track), that when Charrier lets us down with a slapping bass sound or clichéd sampled vocal, the fall feels bigger. Luckily, there are more successes than failures here. And the amazing opener is something we can’t hold against Charrier – most bands would kill to have a track this good. So if he can’t quite sustain the momentum in later tracks, it’s absolutely understandable.

Shockingly, track 4 (“sunny afternoon african charge”) almost reaches the same levels of success as the opener. The two tracks form a nice pair, and sound as if they were recorded at the same time. Unsurprisingly, the bass here too is the key ingredient and the reason for the track’s success. Charrier takes things a bit further this time however, layering looped bass lines, adding more percussion, and subtly evoking a sense of disorientation through slipping rhythms. It’s a fabulous trick, and by the end of the track, the effect is near total hypnosis.

What ruined most post-rock for me, and Tortoise is exhibit #1, was the overemphasis on clean production, instrumental skills, and a lack of tension or edge in the music. In most post-rock of that ilk, there was no risk, no sense that things might fall apart (or together) at any given moment. Instead, we got sterile and pleasant recordings that were akin to high calorie treats with no substance, no soul, and no lasting impact. This disc veers perilously close to emphasizing skill over feel, but in the final analysis, Charrier manages to avoid the trap. There’s an awkward sense of rhythm at play, and enough lo-fi grit in the recording, along with the occasional left turn, to keep things interesting. Where Charrier really shines is in his development of a melancholic and yet slightly skewed/pensive mood throughout the tracks. The whole thing resonates with a subdued, not-quite stoned languor of an afternoon spent in thought.

If he can continue to avoid the shiny smoothness, and throw more improvisation, dissonance and confusion into his music, I think Charrier will be onto something well worth following. If the first and fourth tracks here are any indication, he’s certainly capable. And really – this is all nitpicking, because this disc’s a winner, even with a few missteps. 7/10 -- Eric Hardiman (1 April, 2009)