New Orleans’ Caddywhompus put  a new spin on the Crescent City’s musical tradition, a psychedelic pop spin. The band is a duo comprised of guitarist/vocalist Chris Rehm and drummer Sean Hart. This is one group everyone with a taste for underground, experimental pop should get to know.

Rehm and Hart formed Caddywhompus in 2008 following the split of their prior band, Houston outfit, Riff Tiffs. The two have known each other since kindergartenand have played together since middle school.

Since then, the duo have been busy building a strong fan base in the indie music scene. They are out on their 2010 summer tour promoting their sophomore album, Remainder, released May 11. Remainder follows their first album, EPs, a compilation of Caddywhompus’ first EP, four songs from a prior split cassette and two unreleased tracks. This tour started on the West Coast before heading East. Hart says the tour has been a blast, though the group has had the standard brushes with strangeness that come with every tour.

He recalled one odd instance in Orem, Utah.

“We went to this venue it was called ‘The Kage’ with a K and we were supposed to play with these 6 local bands, but then the owner canceled the performance when he supposedly received noise complaints from the cops,” said Hart. “Though, we found out later that this never happened! The venue itself was strange. We were in what looked like a preschool classroom. There were Shrek posters everywhere.”

Sean Hart recounted the group’s experience touring and playing with other bands, including critically acclaimed group The Antlers.

“Playing with The Antlers was cool. I didn’t know too much about them before we met, but Chris owned a copy of their first album [In the Attic of the Universe].” says Hart.

The Antlers jammed with Caddywhompus at the Saturn Bar in New Orleans, the location for the band’s CD release party for EPs.

“The Antlers were super nice and fun to hang out with,” continued Hart, “and the performance worked both ways.”

Hart explained that playing with The Antlers helped to promote EPs, and playing in New Orleans certainly helped the Brooklyn-based Antlers spread their fan base to the untapped South.

Hart also said he enjoyed playing a short tour with Lafayette-based outfit Givers.

“That was really fun.They  had their own trailer and a tour van, so it was a nice change to not have to drive to our gigs! We ended up playing a sold out show at Emo’s in Austin; that was great.” he says.

 

Additionally, Caddywhompus released their first professionally produced music video. The group collaborated with the independent, Texas-based Neko Neko Films to make a video for the song Guilt. The video captures the band’s eclectic style and sound with jarring camera work, rapid transitions and hazy visuals. Hart noted the interesting experience the group had with Neko Neko.

“It was really random. They just showed up one day at our place in New Orleans, and for the video they had us play Guilt four times while they recorded in our practice room where we recorded all of Remainder.” says Hart.

Caddywhompus’ first music video was for their song Absinthesizer. Hart explained a friend made it in the library at Loyola University New Orleans, where the band attends college.

When it comes to balancing college life and band life, Hart says that school can wind up taking second place.

“Sometimes, college has to be put on the back burner. Sometimes, we don’t even want to go to class," he says. "Luckily, we attend a music school, so we’re always excused when we have a gig to worry about. We make it work. We don’t do too many shows during the school year, maybe one a month."

The group has really shown their 21st century DIY work ethic with an assortment of online profiles. Rehm updates a Facebook page and a blog while Hart maintains a band MySpace profile. Hart attributed Caddywhompus’ level of success to the word-of-mouth publicity that occurs on the blogosphere, where fans and curious music-listeners can enjoy their uploaded songs. Indeed their whole current record is available free at the Community Records website.

Unlike their debut album EPs, whose 300 copies were produced entirely by the band itself and sold through PayPal.  Remainder, as mentioned, is promoted and distributed by Community Records. 

The name “Caddywhompus” comes from southern slang meaning “crooked, or uneven.” According to Hart, he and Rehm used to hear their friend’s grandmother use the term. “Caddywhompus” was originally the name of a high school band Hart and Rehm started.  The name fell out of use but somehow seems appropriate for their experimental, “crooked” rock sound.

Keep an eye for the band on tour, download the new recording (it won't cost you a thing) and spread the word about the cacophonous, DIY, psychedelic sound of Caddywhompus.

Frazer Bradshaw doesn’t want you to just his watch movies. He wants your participation. Not in the Rocky Horror sense. He doesn’t want you to dress up like Tim Curry and prance about (although we doubt he would seriously object should an overwhelming urge to do so take you).He actually wants you to exercise your mind.

Bradshaw is a director and cinematographer. He has been cinematographer on 35 films and directed/editor five more (three of which he also wrote). His most recent film, Everything Strange and New is a narrative drama that uses both voice-over and music in innovative ways.

“Actually the music was part of the genesis of the film. The shot of the back of the character’s head looking out with cacophonous music is the visual moment that drives the rest of the film.” says Bradshaw.

The music, by Dan Plonsey and Kent Sparling, is a cacophony that stands in direct opposition to the sedate visual imagery. This disconnect is by design and, indeed, is part of Bradshaw’s philosophy of film.

“Music and voice over are things radically misused in films. To me music has to not support the film but offer something new.” he says.

The image and music in that first shot creates something you would not get with just the shot or the music alone. The feeling is expanded by the music. It means something more and something different because of the music. In Bradshaw’s film, and probably in every other film, music can change the relationship between people and landscape. And it does so profoundly.

“Music can change that relationship in a chemical way.” says Bradshaw

Bradshaw uses voice over in a way that is out of the ordinary as well.

“The voice over works much like the music. You never see a character when you hear the voice over. To me, that is the worst thing you can do. If you are seeing someone thinking it becomes false” says Bradshaw. “The voice over is never about what you are looking at.”

Like music he juxtaposes two things do not inherently have a relationship. It expands the movies ‘meaning palette’ he says and allows more interpretation by the audience. And that is a key to this film.

Bradshaw says that with studio films there is nothing between the lines. They are something you can watch and keep your distance. This is not criticism but an observation (Bradshaw often works as a cinematographer on studio films). Bradshaw wants his films to be a mirror for the audience. A mirror forcing them to be almost a part of the movie

“If I have one goal as a filmmaker it is to open things up to interpretation.” he says.

Whenever he has the opportunity to add or change part of the film the same thought comes to him; “I think about what are the implications for broadening or contracting of the film around the shot.” he says.

His films mean what they mean to you, to me, to anyone who watches, as much as they mean what Bradshaw was thinking while shooting. Indeed, this one thing is ever present in his mind is how to expand possible interpretation rather than restrict it.

If you want to see Everything Strange and New you may have to wait until a DVD release. Its theatrical run has been intermittent.

“It is not in any theaters, or it may or may not be but it is still, in theory, playing theatrically,” says Bradshaw; he then adds a tad of self criticism. “I made a mistake. I made a film about people who do not go to movies. People want to see movies about themselves which is a sad state of affairs.”

You may notice there hasn’t been much plot summary. There is a plot. The film is a “slice of life” about a working man, with two kids and a mortgage working to get by. But it is as much about the audience’s reaction to the life he and his friends lead. It is as much about the somnambulistic way he moves through his life and word and how the good blends with the bad.

The film is also not about what it is about (if that makes sense). And sometimes, we, the audience, like to be told how to feel and know, with certainty what the meaning of a film is. We are not used to being challenged. This film’s aim, and Bradshaw's, is a bit more esoteric.

“It is about the effect of watching the film. It is hard to talk about film as experience rather than a movie,” he says. “I need people to relate to the film in a way they would not normally relate to a movie. Ultimately it is not to tell a story but to give a visceral and emotional experience.”

The film was also shot on Super 16 and feels almost like a series of photographs. The “action” taking place as much in the character’s minds as in the physical action itself. This disembodiment of the characters likely comes from Bradshaw’s background. As a youngster he never thought about becoming a filmmaker. Bradshaw went to art school and became interested in film because he liked reflected light.

“I wasn’t one of those guys who saw Star Wars and wanted to make movies. I wasn’t interested in making films until college.” he says.

Unsurprisingly he wasn’t initially interested in narrative films but rather experimental ones.

“Generally I like to answer my biggest influences are directors I work for as a cinematographer.” says Bradshaw.

When the subject of influences arises he initially talks about various European directors such as Tarkovsky and Bergman. But his real influences come from his job as a cinematographer.

“Generally I like to answer my biggest influences are directors I work for as a cinematographer.” says Bradshaw.

He gets to see these directors succeed and fail, sometimes on a grand scale. They make his mistakes for him. Most directors do not have the benefit of such experience. Bradshaw learns what he doesn’t want to do as much as what he does.

“There is inherent risk in making a good film.” he says.

But he gets to take risks that are “less risky” because he has witnessed other directors making similar decisions.

As to what is next Bradshaw is writing something and is working on what he refers to as a “straight forward documentary project”.

Bradshaw was also cinematographer on the film, Babies. Whenever this film is mentioned to the cynical film snob they think it is about Anne Gedde. It is, in fact, more like a BBC nature film. He is also credited with being an “additional photographer” on the documentary about Townes Van Zant, Be Here to Love Me. He says (and makes a compelling case) that a “director of photography” credit would have been more appropriate. There was a break in filming and after that, there was a new director of photography.

“I made $93 a day as a favor to Margaret (Brown),” he says. “After six weeks we ran out of money. I went home. Margaret started dating Lee Daniel and when they started shooting again. Well, you can’t beat free boyfriend labor.”

And if you are into innovative, thoughtful filmmaking you cannot beat Everything Strange and New.

Recently I told a PR person that I wanted to write about artists who were doing something outside their norm, outside their comfort zone: musicians who painted, painters who wrote poetry or drummers who did anything beyond hitting things with sticks (sorry, it is hard for me to resist a drummer joke). The discussion I had with Australian songwriter and musician, Savannah Jo Lack, may seem to be off this path but I assure you it is not.

Ms. Jo Lack is a violinist with classical training who has opted to move from that rarified world, off that musical Mount Olympus, down amongst the great unwashed mass of singer songwriters (and in some cases I really mean that literally). How does this transition take place? And how also do you decide to use the violin as the basis for your new pop music direction.

“You move to Tasmania, this tiny island and you sit in the freezing cold and want to work on an album but you don’t play guitar and wish you had taken those piano lessons with grandma,” says Jo Lack. “ It was a natural thing. I had some guitar skills but not enough. Necessity is the mother of invention.

A variety of musicians have told me the same thing over the years; when you are at your best is when you are challenged. Too many “want-to-be” musicians wait for the “perfect situation” to create something. Jo Lack confirms that you can find that situation freezing your butt off in Tasmania with only your violin to play.

She basically used the violin as her rhythm instrument and tried to come up with a sound that is hers. She sings while she plays, which is not totally unique, but is not common in pop music either.

“I start  with a rhythm and then I make it come to life on the violin.” she says.

Jo Lack came to the USA three years ago and toured for a year, settling in the San Francisco Bay area two years ago. She has toured up and down the West Coast. Mostly these tours have been with other songwriters and multi instrumentalists.

With her classical background, and classical music is by definition more sonically broad than popular music, I wanted to know if she thought about how her music would sound on iPod earbuds. The answer was a solid “sort of.”

“If not when I am recording then definitely in the mastering process. My background is classical and I still don’t understand compression, stuff at the end of the process never made sense to me.” she says.

It doesn’t make sense to anyone really but that is what sound engineers are for! In any case songwriters , good ones anyway, cannot spend too much time worrying about whether listeners understand the sonic limitations of earbuds in listening to music.

“I am always starting from an emotional stadpint and trying to stay true to my thoughts,” says Jo Lack. “ I am not making commercial records but records I can stand behind on any level.”

She says she would love to do a vinyl release but that wasn’t possible on the new record.

When the subject of “classical” music comes up Jo Lack says that she never really delineated between that and other music. It was all music to her.  After deciding she didn’t want to be in an orchestra she assessed her options as a musician: touring with a band or  freelancing were the most likely options. Neither was wholly appealing but she wound up doing the latter. It was here she had toe opportunity to listen to other songwriters and find her own voice.

But why was it she decided she didn’t see herself in an orchestra as a career?

Once, while playing with an orchestra, she walked off stage only to be met by the orchestra manager who gave her a dressing down. Had she played poorly or missed her spots? No, she was being admonished for having the wrong sort of stockings on. She had given everything and then is told off because of her socks. I would have slapped the guy upside his head myself but Jo Lack is a more understanding sort. She just decided to move on.

“That is how I started playing this weird stuff.” Says Jo Lack.

Jo Lack wants to use music that expands people’s perception. As noted, music is music to her, but what she produces and aims to produce in the future is a sound that has a character that moves relationships of people and landscapes. Music can be more than just sound in other words. Music can alter your perception of the world around. How people see the world is not fixed in the eyes of Jo Lack.

“Music can change that in a chemical way.” she says.

Savannah Jo Lack’s first solo record, Knitting Songs, comes out in August and dates are planned for the East and West Coasts. She may even hit some other select cities so keep your eyes open.

You can find out more at the Savannah Jo Lack Website.

Jordi Rosen, a singer, songwriter and accordionist makes captivating, unique music that not many people have heard. The music is alternately haunting and whimsical. You are skating on some dangerous ice when you call music whimsical but here it is both apt and a compliment.

Rosen, from Montreal, produces music that is deceptive; it is simple lyrically and in composition. Yet it has a depth that is almost mystical at the same time. There is a sly sense of humor and spirituality in it as well. Using the word “spirituality” when referring to music conjures some unfortunate comparison but it is unavoidable. Her reason for making music is straight forward.

 “I do music because I love it and I feel it is a path I should be taking in my life. One time I didn't sing for a while and I woke myself up singing a note!” she says. “I have been singing since I was very little for fun and then on a more social level when I got older. I was sad when I wasn't playing music for a while. I like to share music with others and for them to feel good with it as well. I love music in general and am amazed with the different sounds people can create.”

Myspace was a major way for her to get in touch with fans and spread her music. Yet, it gets to be difficult to get to know everyone.  Beyond this, Rosen goes about increasing her fans the old fashioned way. She plays shows with other folks and meets their fans or has people bring fans to her shows.

One of the attractive things about Rosen’s music is its  DIY, whatever is at hand, quality. She talks about playing Casio keyboards she found in the trash. You get the feeling she would, and could, make music with a rock, a garbage can and a broken kazoo. She also makes wonderful use of the accordion.

“I like to play the accordion and Casio and have friends accompany in a way that feels good for them and I am quite delighted with the configurations! Once in a while I will work on an instrumental piece,” she says. “Usually with a song I will work on layering the sounds (i.e. the left hand of the accordion might get a bit more intricate), and often the pieces are works in progress.”  When I bring up “simplicity” and how it is actually sometimes quite complicated Rosen responded with emotion.

“I like simplicity so much!!!!! That is one of the major themes in my life. With the work that I do I am constantly clearing on a Spiritual level and I have to practice this in my own life to be grounded. I believe this translates into the music now more than before,” she says. “These days there is a focus on time management, layers, organizing, creating the future, health and ...Love is often a main theme musically and to me Spirituality often involves finding the route to a loving source.”

When I question her on love in her music, wondering if it is romantic love or has some other meaning she talks about working within the “Cosmic Stream.”

“Romantic love is one aspect, but essentially love of oneself and love towards others and creating a circle of love and respect. I see the Cosmic Stream as a Heavenly source. When I visualize it I see it on the left side of the body,” says Rosen. “When I do healing work with people I ask them to put their troubles in the stream. When I feel overwhelmed I will place myself or others into the stream. It is a flow of healing energy. When pouring water from a tap you can visualize it coming from there as well for purification. I noticed that in Hinduism there is a similar way related to Shiva and The Ganges.”

This led to the songs featured above this article, Marrakech Garden, the song seems to be almost a mantra, with its repetition but Rosen has another take.

“It is an instrumental song with a very simple chorus..’I'm your Indian Ocean, You're my Marrakech Garden.’ I am Ojibway, so I relate to The Indian Ocean Part--being emotional perhaps at the time,” says Rosen. “I was named after the Jordan River, so that must tie into it, even though that wasn't the intention. I visualized my love at the time of the song to be like a lush exotic garden.it is about seeing the inner and outer beauty in each other.” 

The song is catchy and doubtless will stick in the mind of both the spiritual and the heathen

“I write my songs with the intention of them touching everyone somehow,” she says. ““I know that not every song will appeal to everyone, but to be able to make some people happy feels good."

What does Rosen listen to? A potpourri of rock, pop and world music including the likes of  The Velvet Underground, PP Arnold, Preston  Park, Pop Levi, PROMWOLF, Kings of Convenience, Dalida, Ghostland Observatory and others.

“I am fond of many types of music...Pop, Bollywood, Ska, Hip- Hop, French Chansons...Folk, Glam...” says Rosen “....I also love bird music! J'aime Serge Gainsbourg and Brigitte Bardot!”

Right now you can hear her music on her above this article, on her myspace page, order it at CD Baby or hear it at shows.

“I'm excited for you to hear the new album! There are lots of new and exciting aspects of it, and I am doing a couple of other recordings these days too. My new album has songs that have been written over the last four years--mainly pop songs,” she says. “Christian Richer is producing it and I am co- producing it. We have similar musical tastes. He is influenced by late 70's disco and pop and late 60's folk.”

Disco folk is something everyone needs to hear and NOW.

Rosen says there is a great deal of room left for experimentation with vocals, instruments and effects on the record. It will be awhile before the new recording is complete.

 In addition to music Rosen practices "intuitive healing." Don't roll your eyes;she is, herself, skeptical. Yet at the same time she goes back to family tradition in this--her father was a physician and she also harkens to Ojibway traditions. As a skeptical heathen myself I still feel that her music has healing power. When I put it on it definitively has the power to heal a crappy day. This hypothesis has been repeatedly tested.. You can contact Rosen at jordilotus (at) yahoo (dot) ca.