5 Questions with Aarti Jadu
Known for creating a hybrid of cinematic compositions and bass music laced with disparate vocal arrangements, Aarti Jadu performs in a variety of ensembles, as well as solo and collaboratively. A multi-disciplinary, self-driven professional, they are an embodied sound facilitator and the director of experimental art initiative tincture.
Jadu’s recent movements in trauma work and education see them finding ways to incorporate awareness around mental health and disabilities, both on and off stage. Jadu is a versatile organiser and conceptualiser, having worked to create immersive collaborative experiences with Abbotsford Convent and AsiaTOPA, Multicultural Arts Victoria, Immigration Museum, and NIDA.
NO.1
Tell us about L’ECOLE DE LA CAZ. If I’m not mistaken, it translates from the French as “The School of CAZ”. What was the impetus behind the album’s conception?
Yes that is correct, ‘caz’ is a phonetic spelling of ‘house’ in French Créole. It’s a fun and more truthful written language where it is a little flexible in regards to spelling. So, School of House/Home.
To me it was a way to relearn a sense of home after many disappointing moments in my material space. I find this practice in yoga, finding home in the body, in moments of stress; finding rest in the turmoil, and in sharehousing and homelessness; being at peace with flux. When I hear the album I think of an alien choir of school girls or femmes who are communicating the best they can to Earth, using voice processors and autotune to try to relate to a foreign space. Maybe they are learning how to find home whilst seeking refuge, and were in this circumstance in the first place because they are young and naïve and somewhat disposable in the eyes of authorities? But hey, it’s all a massive stretch and I guess I am feeling okay about allowing my imagination to wander without an end or complete clarity, but some relationship to the funny little characters I have made with my voice and mind and heart.
NO.2
You have had a storied career so far as a sound artist, who has performed both solo and in ensembles. There is a certain mysticism and dystopian sound in your work. Who or what did you see as your influences as you were starting to explore styles in the early stages of your practice? And how has it evolved to where it is today?
I am interested in being as authentic as possible, so this means accepting that there are reasons I was born into a family practicing devotional music. And how I can not just disregard it when stepping into contemporary music and composition.
I think I create trance music [as a way to engage in] introspection—well, at least that is what just tends to happen—and aim to merge these practices so that I can hopefully connect with that ‘thing’ in music while I learn and play. I don’t know what’s really dystopian but I am happy that you feel something in my work that way. I suppose melancholy might be the sound you wish to enquire about? Or the distortion? Melancholy is easy; I am a sucker for it. It helps me to feel deeper. And if it’s about distortion, I only wish to find balance from a very smooth and softly beautified voice [which] I naturally have. I hope to explore, and have been exploring ways, to express the other side of the spectrum. Balance it out. Even if it is through other sounds instead.
NO.3
L’ECOLE DE LA CAZ is described as an “alien folk album”. How did you feel while you were creating and writing this album? Were you tapping into an alter ego or sorts and if so, what kind of figure was this for you?
Yes, as explained above, it is about hearing it and feeling like I made a world or a story. Because half the time I really want to contextualise it. or see it in a film.
I can see this in Video Ezy under the category of ‘sci-fi coming of age’? Definitely arthouse. Lol. I would love to hear what other people think of the collective work.
NO.4
In the album’s press release, L’ECOLE DE LA CAZ is said to explore “displacement, alienation and isolation”. Would you like to elaborate on that? How does displacement, alienation and isolation relate to you as a person in the world, whether culturally, linguistically, sociopolitically, etc? What sorts of experiences did you draw from while in the midst of making this album?
If I can be very succinct about it, I have an issue accepting that it might be impossible to have a home of my own with a small piece of land I can tend to and learn to grow with. I feel it’s not too much to ask for and I work pretty fucking hard—I would just like that to be a human right for everyone. I moved house while making this album, from a precious home that held a feeling I hope to someday feel again.
Musically, I heard the sounds of alien choral [which made me want to] attempt to draw the lines, so that listeners, if [they are] interested, can enjoy reading something interesting about the album. A story seems nice to offer, to help embody an idea rather than speaking about things technically or catergorising things by genre and adjectives directly related to music.
NO.5
You surround yourself with a community of talented and creative people that work across different artistic disciplines. What do you think are the most valuable resources when it comes to making the work that you do?
Oh, wow how do you know ahhaa… if this question is specifically about people, [then] will, deep listening and faith. And those that simply have that in themselves.
Maybe that’s not a resource… but I am sure it’s worth pointing out and considering in place of things that are limited and material.
I love all who helped on this in all the ways.
Described as “an alien folk album”, L'ECOLE DE LA CAZ explores displacement, belonging and isolation with stories that negotiate the material and the ethereal. A time capsule of a home lost; as one moves in multiple directions of change, travelling across, ascending, and transcending.
The 7-track LP begins in a setting of another world. A select group of basic schoolfemmes are summoned by authorities to test uncharted territory without prior warning. Through the course of the album, they sing their experience of being uprooted and flying, of time in strength and connectivity, of pensive moments and the inevitable growth in journey. In contrast, shadowing their path is an entity, branded and lone. This being symbolises ‘other’ that quietly lurks, reminding the subjects of what they have together; company, identity, conversation, memories, a sense of home and belonging.
Listen to the album below: