Oliver Cherer - I Feel Nothing Most Days - Albums - Reviews - Soundblab

Oliver Cherer - I Feel Nothing Most Days

by Bill Golembeski Rating:8 Release Date:2019-05-10
Oliver Cherer - I Feel Nothing Most Days
Oliver Cherer - I Feel Nothing Most Days

Listen to this album many times.

Then love this album many times.

To be honest, though, this record initially sounded like soft rock. But then, after several spins, this music revealed its woozy circumference.

And let my tombstone read: He always enjoyed a woozy circumference!

Imagine an album of tunes that echoes the muzzy beauty of Pink Floyd’s “Brain Damage.”

Not only that, but it’s folk music with a few electronics and a slew of great melodies. It sounds like some Canterbury album with vocals that recall (the great) Richard Sinclair of Caravan and Hatfield and the North fame. And, from where I come from, that’s autograph time.

This album just updates the beauty of the low-key underground sound of psych-folk music, British style. Yes, this is very personal stuff. And great music is always personal stuff. I suppose it is soft rock. But it’s soft rock with an oddball glance.

My goodness, the first song, “Weight of the Water,” is Pink Floyd wonderful. It’s simply patient in its languid beauty with a Dave Gilmore-like vocal. And the sax is eerie in its understated mushroom growth.

To complete the template, the final song, “The Girl on Top of the Tree,” is Canterbury Cathedral folk-rock music that would fit well into the quiet section of Caravan’s “Nine Feet Underground” epic from their (brilliant) In the Land of Grey and Pink. It could also rest quietly beside any of Robert Wyatt's more folky tunes. The same is true for “A Small Town.” I suppose, if wishes were fishes, this could be an incredibly lucid (and beautiful) song from a lost Syd Barrett session.

You know, after all sorts of spins, these tunes really become warm cozy raindrops. “Untitled 1983” is slow-pulsed and extended like the universe. I’ll even forgive the programmed percussion. Indeed, this is warm and woozy circumference stuff with wonderful guitar work. And that faint echo of Pink Floyd’s languorous More Soundtrack pervades the song.

Oh my! “Earth Rise” is simple, acoustic, and timeless. More of that, please!

“Sinners of the World” is didactically catchy. And It has a great melodious idea that hums in your head.

Ah, I’m still forgiving that programmed percussion, but “Slowly, Slowly” grooves with more sultry sax, while it tips a folky hat toward smooth jazz. To be honest, this one is a bit breezy for my taste. Ditto for “Seburg.” This song slides, floats, and pops without a decent anchor. But (to quote Foxtrot era Genesis), as sure as eggs is eggs, these tunes will probably be someone’s favs. So, that’s all right.

But, oh my (again!), “An Unfamiliar Kitchen” is acoustic sad saga perfect. A forlorn sax trails the rainy footsteps of a singer baring his soul to the cold night railway station wind. It recalls the somber tones of the Mark-Almond Band (that’s Jon Mark and Johnny Almond, not Marc Almond) with their sort of jazzy 70’s dreary big city sound. Perhaps, some may find the song a tad maudlin, but (to quote Genesis again), as sure as eggs is eggs, I love the melancholy sentiment of the tune.

The title track, “Most Days,” returns to the windswept woozy circumference that casts a hazy ephemeral mushroom lovely melodic parachute over the entire groove of this record.

Ultimately, this record tantalizes. The tunes are, just like the mythological fruit, beautiful, but just out of reach. It has moments of intangible touch. And there are moments of deep folky roots. There’s some programmed space. There’s some brief jazzy sax stuff, too. Yeah, it’s soft rock, but it’s music that still, somehow, manages to land with its musical credibility intact, on The Dark Side of anyone’s mysterious and fairly acoustic melodic Moon.

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