Caddywhompus Share “Splinter” via Stereogum
Odd Hours Out April 14th on Inflated Records
“Chris Rehm and Sean Hart mine math-rock, frenetic punk and the bombastic end of pop to generate a signature, euphoric sonic boom.” – NPR
Caddywhompus are set to release Odd Hours, their highly anticipated new record on April 14th via Inflated Records. Today the band are sharing “Splinter,” the latest single following the recently released “Decent” (NPR) and “Waiting Room” (AV Club). The New Orleans duo of Chris Rehm (guitar/vocals) and Sean Hart (drums) have created their most focused and mature album yet, and “Splinter” is a good example of their growth as songwriters. On an album of jagged art pop, jazzy structures, and unbelievably kinetic energy filtered through an array of hooks and cultivated madness, “Splinter” is Caddywhompus at their most somber though the band’s shapeshifting melodies remain as brilliant as ever.
Stereogum shared, “once the melancholia dies down, “Splinter” erupts into the signature distorted noise rock that the duo does best, while subtle video game-like intricacies lace the background.” The site continued, “There’s a darker shadow cast over “Splinter,” with its buzzy, morose introduction, but the major chord changes and Rehm’s triumphant belts and coos make this song epic.”
April 14, 2017
2. Salmon Run
6. Waiting Room
7. In Ways
About Caddywhompus:The Caddywhompus idioverse — the shared, invented language, subtle and unspoken gestures, thoughts and quirks wrought from close bonds and experience — is one unique to Chris Rehm and Sean Hart. From growing up only a short bike ride from one another in Houston to nearly a decade of performance together as a guitar and drum duo in New Orleans, their years-in-the-making style consists of distorted walls of sound with lightspeed melodic U-turns and waves of brilliant noise, a dynamic that only could be learned by the two players on Odd Hours, their latest album out April 14, 2017 on Inflated Records.
Caddywhompus began working on Odd Hours during New Orleans’ sweltering August heat, following sessions for 2014’s Feathering a Nest, tours of Europe and South America, and countless shows filled with Hart’s massive drum sounds and Rehm’s towering speakers teetering on the verge of collapse or explosion as he bounces around them. In a now-defunct warehouse studio space helmed by Ross Farbe (Video Age), the band channeled its road-tested songwriting, warped and shaped live, into its largest effort yet, revealing a heavier, more personal Caddywhompus.
For Odd Hours, the band pulled from its love for The Beatles, The Kinks and Elliott Smith, the ecstatic harmonies of The Ink Spots and Mills Brothers, and the heavenly atmospheres conjured by Satie, Debussy, Chopin, Ravel and Rachmaninov. To say the band abandons structure, obliterating rules in seemingly unpredictable bursts, disregards its devotion to pure pop in the vein of the masters they love. To call it noise, even with the self-aware, sardonic self-mockery of “noise pop,” is to ignore their emulation of the elegant, impressionist classical composers lurking behind their gorgeous, sweeping soundscapes.
Rehm’s lyrics span addiction, regret and relief, and love and its rewards and decay, while he layers his kaleidoscopic harmonies over near-falsetto vocals. Relatively straight-forward and linear song structures (“Salmon Run”) meet lyrically dense sonic wrecking balls (“Splinter”), and a closing suite — “Choir” and “Leak” — crashes, burns, smolders and drifts on its ashes before a thundering finish. Holding it all together is their shared language, a diverse range of guitar sounds and colossal drums singing alongside one another in brilliant harmony.