Caddywhompus Stream and Discuss Odd Hours with SPIN
Out Next Friday, April 14th on Inflated Records
Caddywhompus are set to release Odd Hours, their highly anticipated new record on April 14th via Inflated Records, but wait no longer. Today the band are streaming the album in full via SPIN together with an interview about the evolution of the band and their sound.
The New Orleans duo of Chris Rehm (guitar/vocals) and Sean Hart (drums) have created their most focused and mature album yet, a glowing 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, Caddywhompus are at their absolute best, blazing through complex progressions with a warm pop-center.
“That bigger, dimensional sound allows Caddywhompus’ psych-pop side to shine through, and Rehm’s vocals surface with newfound clarity … It’s classic Caddywhompus: a sharp, scattershot, tension-filled build-up, followed by a pause and a breath of air. On “Choir,” Rehm and Hart pack an album’s worth of melodic and rhythmic ideas into six minutes, but the structure enforced by a dozen unexpected left turns prevent their squiggly riffs from spiraling out into scribbles.”
“Chris Rehm and Sean Hart mine math-rock, frenetic punk and the bombastic end of pop to generate a signature, euphoric sonic boom.” – NPR
“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.” – Stereogum
“New Orleans-based duo Caddywhompus isn’t one to go for simplicity. It’s hard to pin the band’s sound down, as Chris Rehm and Sean Hart craft songs that touch on everything from math-rock to psych to punk to freak-folk.” – AV Club
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.