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Recorded in 2012.
On Silver, multi-instrumentalist Charles-Eric Charrier directs his collaborators Ronan Benoit, and Cyril Secq, through a lesson in tension and release. Dismissing genre boundaries Silver deftly plants its roots on a plateau in a strange land somewhere between the worlds of psychedelic post-rock, electronic, improv jazz and modern composition. Over the course of five movements, Charrier and company illustrate how to successfully kaleidoscope an eclectic range of influences into a cohesive and unique whole. From the smokey sludged psych rock blues jam of 21 Echoes, the jazz lounge pitter-pat of brushed snares and tapped hats coalesced with analog synth and brass vibrations on 12 From, to the plucked and bowed folk strings and hand drums of 9 Moving, Silver draws a new musical blueprint for the post-everything generation. Charles-Eric Charrier, half of the duo MAN alongside Rasim Biyikli known most recently for their 2005 album Helping Hand on Sub Rosa, has recorded multiple albums, film scores, and collaborative projects with painters and choreographers. He also writes and records solo as Oldman, and has collaborated with numerous artists and musicians including Sid Toure (Thrill Jockey), Mathias Delplanque (Lena), Rob Mazurek, Jérôme Paressant (abraxas projekt), The Clogs, Orange Blossom, Rhys Chatham, Teamforest, The Floating Roots Orchestra, and Le Coq.
Wydanie europejskie.
Charles-Eric Charrier is one of those musicians for whom it is difficult to sum up the career process with just a few lines; there are curves, digressions, great jumps,doubts, daring… Since his beginnings with Dreta Lorelie, he has never ceased to explore new horizons, to open up to the world, to look behind the scenes, to question his music, and music in general - and thanks to all this, he has drawn the map of his inner world. We will avoid talking about rock, jazz, ambient, contemporary music, post this and that, we would be worried to lack certain labels… ! Charles-Eric is not an instrumentalist in the strict sense of the term. Obviously, the bass is central in his music, but neither in terms of a display of technical skills, nor in terms of musical theory, or through notes in excessive quantities; he rather searches for the perfect line between improvisation and composed music; depending on the context.« I am trying to be simple, but not simplistic ». That bass is at the service of a musical creation, of a certain sound, of a whole, but it is, above all, the means to put forward music in which the musician is not on the forefront, like these Songhaď dancers of Holley who, once they have reached the state of trance, will become the “horses of the genies”, through them, despite of them, something bigger expresses itself over which they have no control. “Before, I made “intellectual music” - I twisted and bent it to express something psychological, emotional. Since “T wo Heads Bis Bis”, I am at the service of something that surpasses me (…). The challenge is to open oneself and to let the music come out.”MAN, Charles C. Oldman, Oldman are the leftovers from the past, successive stages of metamorphosis, of change. Today, he signs his recordings in his own name, a sign that a new threshhold has been crossed. Is the story closed? No, the journey does not appear to have come to an end... Collaborations Sidi T ouré "Kodma" (Thrill Jockey, soon), Lena & The Floating Root Orchestra (Plush, 2008) Rob Mazurek, The Clogs, Rhys Chatham, Jérôme Paressant "Under the House" (Oceanik Creations, 2009)
