Posts Tagged ‘Sadie Dupuis’

Sad13 NataliePiserchio

Sadie Dupuis has found ways to stay productive during 2020. At the beginning of the pandemic, the Speedy Ortiz vocalist/guitarist founded a poetry journal as an extension of her record label, Wax Nine, to help out people in the lit world who are often prone to exploitation. She then released “Haunted Painting”, her second album under the moniker Sad13, just last month.

It followed 2016’s Slugger, and the wait was worth it the album is extravagant and clever throughout the eleven tracks, grappling with grief, aging, and misogyny in idiosyncratic ways.

Filme in her mother’s backyard in Northwestern Connecticut, Dupuis performed the tracks “Hysterical” and “Oops…!” from Haunted Painting for “Neighborhoods” with her dog Buster making a special appearance. Watch the intimate renditions below.

Sad13 (Sadie Dupuis of Speedy Ortiz) plays two tracks from her recent solo LP “Haunted Painting” in Northwestern Connecticut.

Sadie Dupuis has had a hand in almost every creative aspect of the music industry—between playing in her indie rock band Speedy Ortiz, collaborating with Lizzo, running Wax Nine Records and combining music with advocacy, she’s done it all. Now, Dupuis is back with her first solo album since 2016’s Slugger under the moniker Sad13. The writing process for Dupuis’ new album Haunted Painting started after she witnessed an apparition at a Seattle art gallery, but she dives into ideas larger than her own haunting experiences. “What was it like to come of age in such a cruel place?” Dupuis sings on “The Crow.” The album leans on a loose horror theme, between the vampiric video for early single “Oops….!” and Dupuis presenting as a self-proclaimed “frontdemon.” Despite the concept, lyrics like those on “The Crow” feel aware of their place at this moment amid a tense political climate and months spent in pandemic isolation.

Directed & everything else by Elle Schneider Styled remotely by Lindsey Hartman Shot at Silver Sands Motel, Greenport, NY. Special thanks to Terry Keefe. “Ghost (of a Good Time)” from Haunted Painting, out September 25th, 2020

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Sadie Dupuis song writing has been a practice in poptimistic views through the complicated indie rock gaze. The best songs from her band Speedy Ortiz and are the ones where the hooks swing heavy even when knotted up in amp cords and wrought time signatures, and with her solo project outlet Sad13, tracks like “Get a Yes” made you wonder what her take on subversive accessibility might sound like in her hands. In recent years, it’s sounded like Dupuis has grown more comfortable with that notion – Speedy’s 2018 Twerp Verse had some of the best weirdo indie-pop jams out there that year – but “Haunted Painting”, her second effort as Sad13, is a different kind of ghost.

As someone who has proven over the last decade to be a diverse combined-forced creative in her roles as a songwriter, poet, activist and visual artist, one should expect by now for Dupuis’ work to reflect a lot of thought going on within it. Her past work in both band and singular form has often warred with itself in finding a balance between great production, an atypical pop ambition, sincere wokeness, and the pursuit of seeing her reflection actualized in a sound defined as her own, and Haunted Painting is that self-portrait that puts it all on the canvas.

Backed by an all-women collective of studio pros including the likes of Illuminati Hotties’ Sarah Tudzin and Grammy winner Erin Tonkon as well as featuring guest spots from Deerhoof’s Satomi Matsuzaki, Tune-Yards’ Merrill Garbus and Pile’s Rick Maguire, Dupuis’ all-hands-on-deck project culls together engineers and musicians gifted in tweaking her electric indie-pop hexes into her own perfect spells. The cast does not deter from Dupuis as the focal point of “Haunted Painting”, and the way she wires together pop-rock with sharply-refined verbosity.

This especially comes in handy whenever she’s cutting down the patriarchy good wit as she does in the sci-fi synth pop anthemry of “Hysterical”, or drumming down bad behavior on “…Oops!” The most interesting aspects of Dupuis’ songwriting on Haunted Painted are how it goes further in colouring in her creative persona as something more than just using her voice to cause waves within socio-political currents, however. “Into the Catacombs” is an ornate orchestration that sets an ominous introduction for themes of loss, love, and loneliness backed by Roberto Carlos Lange of Helado Negro’s ghostly apparitions akin to every starting point on an …And You Will Know Us by the Trail of Dead album. “Good Grief” and “Take Care’ showcase a duality in a new found confidence with quietness building within the heaviness of indie rocks rolling, as she turns to timeless stylistic designs well learned from Liz Phair’s latter work.

Where Haunted Painted ultimately ends up is in one of Sadie Dupuis’ best songs written to date. “Market Hotel” sends the album off in one last burst of big, frustrated exultation with its share of side-eyed disses after already exhaling her traumas, anxieties, and washed adult dirtbag ruminations from her soul before it. It’s a saccharine ripper that in less than two minutes compresses everything that Haunted Painting is in picturing every side of Dupuis’ songwriting craft within the same frame. “I’m working three fucking jobs, I’m too embarrassed to die,” she sings. The punchlines are deprecating and surely, Dupuis is tired of having to make them, but it doesn’t stop her from hitting them right on target every time.

Sadie Dupuis – guitar, bass, synths, organ, marimba, prepared piano, drum programming, vocals, production, arrangement

Haunted Painting, out September 25, 2020

 

Image may contain: 1 person, text that says 'Sad13 Haunted Painting kmn Available September 25 on WaxNine 9'

Sad 13 the project led by Sadie Dupuis of Speedy Ortiz, is a vampire who bakes cakes and other goodies to lure in her victims in the video for her new song “Oops…!” It’s the latest single to be taken from her new album, “Haunted Painting”, which is due out September 25th via Wax Nine. Kimber-Lee Alston wrote, directed, and edited the video remotely.

Dupuis had this to say about the song in a press release: “We recorded ‘Oops…!’ at New Monkey, which was Elliott Smith’s studio. This one has a magic drum sound—thanks entirely to engineer Sarah Tudzin (of Illuminati Hotties notoriety), and Zoë Brecher’s impeccable playing. Just before writing it, on tour with CHVRCHES, a venue employee became physically and verbally violent with one of my Speedy Ortiz bandmates. He directed his fake apology at me instead of the person he harmed, presumably because I am smaller and present feminine. My vengeance complex kicked in and I got a scary adrenaline high making sure this unsafe person was removed from the show. While I’m glad I have protective instincts, I wrote the song to process ways in which I’ve used people’s assumptions about me and my body to wield my own version of toxic masculinity. Kimber-Lee Alston, who directed remotely via Zoom, turned this story and song into an allegory about a 1950s prom queen vampire who lures in her bad boy victims with delicious, blood-filled treats.”

Previous Dupuis shared the album’s first single, “Ghost (of a Good Time),” via a video for the track, which Dupuis said is a “party song about not going out.” The album also includes “WTD?,” a new song Sad13 shared via Adult Swim Singles in May.

Haunted Painting is the sophomore Sad13 album, the follow-up to 2016’s Slugger. The album was recorded at Tiny Telephone in San Francisco and New Monkey Studio in Van Nuys, California, a studio that was built by Elliott Smith in the 2000s not long before he died. The album was made exclusively with women engineers, including mixer Sarah Tudzin (Weyes Blood, Illuminati Hotties), tracking engineers Erin Tonkon (David Bowie, Esperanza Spalding) and Maryam Qudus (Thao & The Get Down Stay Down, mxmtoon), and “mastering legend” Emily Lazar (Beck, Dolly Parton). It also features guest vocals from from Helado Negro’s Roberto Lange, Deerhoof’s Satomi Matsuzaki, Merrill Garbus of tUnE-yArDs, and Pile’s Rick Maguire. Zoë Brecher plays drums throughout the album.

Dupuis had this to say about the album in a previous press release: “I worked on Haunted Painting throughout 2019, writing, arranging and recording from home, then finishing the songs in studios around the country in between Speedy’s fly-in dates. It’s maximalist, and more true to me and my tastes than any record I’ve done.”

Sad13, the new project led by Sadie Dupuis of Speedy Ortiz, shared a new song “WTD?” via Adult Swim Singles. It is the first Sad13 song in three years and the thirteenth entry in this current Adult Swim Singles series.

“WTD?” stands for “what’s the drama?” Quite frankly, it seems like quite a few things.

“It’s about eco-fascism, climate gentrification, and the depopulation of species, caused by human selfishness and industrial greed,” Dupuis says in a press release.

The glittery pop song finds Dupuis playing her first ever sitar solo over buzzy synth layers and gnarly guitar riffs. Zoë Brecher bangs drums on the track while Audrey Zee Whitesides lays down the bass, making it the first Sad13 recording to feature the two members who have previously performed in the live band. The song was tracked at Studio G in Brooklyn with engineer Erin Tonkon (David Bowie, Esperanza Spaulding) and mixed by Sarah Tudzin (Weyes Blood, Illuminati Hotties). Sad13’s last song was 2017’s “Soo Bad” and the project’s last album was its 2016 debut, Slugger (which was considered more of a Dupuis solo album).

Drums by Zoë Brecher
Bass guitar by Audrey Zee Whitesides
Produced & written by Sadie Dupuis, Guitar, synth, sitar, toy piano, cowbell, vocals, etc

WTD?:
Released by Adult Swim Singles, May 18th 2020

It’s a beautiful exciting week in the land of Speedy Ortiz because they released a new song! I am pumping it right now and this rips!

The song is called “Blood Keeper,” and it’s a Liz Phair cover in celebration of Speedy Ortiz joining Liz Phair on tour starting today . “Blood Keeper” is available on Bandcamp and all proceeds for the single are being donated to purchase venues along the tour copies of Making Spaces Safer, a how-to guidebook from AK Press by Shawna Potter of War on Women!

n celebration of their tour with Liz Phair, Speedy Ortiz has covered this track a Scream 2 soundtrack outtake, written by Phair. The pay-what-you-want Bandcamp proceeds will fund providing each venue on the tour with copies of Shawn Potter’s (War On Women) pocket guide, “Making Spaces Safer.”

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This October, Speedy Ortiz is also touring the UK for the first time in three years! The shows begin on Wednesday, October 17th in London until Thursday, October 25th in Bristol! More info is available in the TOUR DATES section!!

Released September 5th, 2018
Recorded by Speedy Ortiz
Mixing & artwork by Sadie Dupuis
Sadie Dupuis – guitar, synth, vocals
Michael Falcone – drums
Darl Ferm – bass
Andy Molholt – guitar, synth

Speedy Ortiz, Twerp Verse

The run up to Twerp Verse, the third record from Speedy Ortiz, has intoduced three vibrant music videos. Each one taps into the sardonic wit and playful imagination of its singer, guitarist and lyrical mastermind of Sadie Dupuis, but the video for “Villain” (directed in a crayon box array of retro colors by Elle Schneider) is especially powerful at distilling her message to something tangible. Recreating the campy feel of a monster flick, Dupuis is relentlessly provoked by a fish-headed creature, a surreal embodiment of invasive verbal abuse and physical harassment that women endure daily. “‘I wanna know what kind of games you like,'” she recounts, before recoiling at these unwanted advances: “He talks like he knows me, so I’m being polite.” Later, she sings “‘I wanna know if a no means alright.’ / He looks past my answer, did he earn the right? No way.” — a dark inverse to her consent-positive mantra in “Get A Yes,” a fizzy gem from Dupuis‘ solo project Sad13.

While the concepts at play in “Villain” are familiar territory Dupuis and Speedy Ortiz have covered in the past, she’s never been quite this direct. Surprisingly, these themes weren’t initially the album’s intended direction. As the story goes, the band was primed to record in late 2016, but soon decided that batch of songs were “strictly personal or lovey-dovey” and no longer felt relevant amid the cultural and political shifts occurring post election. “Social politics and protest have been a part of our music from day one, and I didn’t want to stop doing that on this album,” Dupuis stated in the album’s press release. The band shelved those efforts mid-stream and doubled-down to write new material that better reflected these turbulent, unprecedented times. The result, Twerp Verse, shows Speedy Ortiz at its most pointed and fearless.

With a Master’s degree in poetry and a reputation for skillful, hilarious wordplay, Dupuis is among rock’s more compelling songwriters. Across Twerp Verse’s 11 tracks, she rapidly slings pop culture and literary references and shrouds her narratives in cryptic, visceral phrases worthy of decoding. And it gives license to speak hard truths and reveal personal anxieties — be it falling back into the familiar comforts of bad relationships (“Backslidin'”) or mining contradictory feelings on love and commitment (“Moving In”). “Lucky 88” critiques the head-in-the-sand apathy and disillusionment of people watching the world crumble around them. “One more time with reeling / You siphoned out the feeling / Can’t you act responsibly? / You’re the sick pup who created me,” she sings, before repeating “I don’t care anymore…” with weary resignation. But Dupuis is best when wielding humor and sarcasm — and taking no prisoners. “You Hate The Title” is a withering rebuke of haters publicly nitpicking someone’s opinions and creative endeavors, while still “singing along.” “You hate the title but you’re digging the song / You like it in theory, but it’s rubbing you wrong,” she seethes atop fluttering keyboards that belie her fed-up side-eye. “I can’t, I can’t, with your ‘Just can’t even’s.”

Recorded at Silent Barn in Brooklyn with Carlos Hernandez and Julian Fader (Ava Luna) and produced and mixed by Mike Mogis (Bright Eyes) at his studio in Omaha, Twerp Verse is both musically expansive and Dupuis’ most accessible work yet, a blend of catchy pop hooks and dexterous guitar playing. “Buck Me Off” opens with that signature Speedy Ortiz formula, and the band — comprised of bassist Darl Ferm, drummer Mike Falcone, and guitarist Andy Molholt — outright shreds with overdriven chords and buzzy solos piercing through murky distortion. Similarly “Sport Death” unfurls razor-sharp riffs that mimic the vocal melodies, and builds tension through off-kilter chord progressions and half-step dissonance. Elsewhere, they fold in pitch-shifted tones, pulsing synths, and laptop beats (“Lucky 88”) and skin-crawling atmosphere (“I’m Blessed”) — something first hinted at on 2015’s Foil Deer, and honed further on Sad13’s 2016 record, Slugger — and invigorates what can be tricky subject matter with immediate uplift and noisy catharsis.

That’s emblematic of “Alone With Girls” and “I’m Blessed,” in which Speedy Ortiz both alludes to emotional bullying and violence in past toxic relationships, and uses its platform to amplify the voices and stories too often silenced or marginalized. ” Lean In When I Suffer,” the album’s anthem, refutes self-branded feminist allies who only appear supportive when they don’t have to address their own privilege or problematic behavior. She’s having none of that, quipping “I’m checking my phone / He’s unworthy of talk / If he really wants to be the one, he’d forfeit shotgun for once…” It’s in these moments, Speedy Ortiz’s songs become about reclaiming agency, and finding empowerment through empathy. In that way, Twerp Verse is an album arriving right on time.

thanks to Npr

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Speedy Ortiz  have announced their first release in over two years, and their first proper full-length since 2015’s Foil Deer. “Twerp Verse” is out on April 27th via Carpark Records, and in tandem with their new album’s announcement, Sadie Dupuis and company have also shared the video for synths and sardonic lead single “Lucky 88,” in which Dupuis declares, “I don’t care anymore.”

Dupuis explained the clever, colorful and ultimately optimistic video’s conception in a statement:

For the video, we wanted something evil, glossy, cynical, and camp. director Emily Yoshida came up with a concept that addresses our reliance on technology and apps that’s so absorbing, it’s hard to engage with the outside world, even when it is literally being consumed by slime (and, hello, global warming, melting ice, coral bleaching, impending heat death, make no mistake, it is being consumed by slime).

Soon after Speedy Ortiz assembled in Brooklyn in the fall of 2016 and recorded what they thought was their third album, Election Day happened, and the band knew they had to scrap what they had done, shifting their focus from the personal to the political. “The songs on the album that were strictly personal or lovey dovey just didn’t mean anything to me anymore that’s not the kind of music I’ve found healing or motivating in the past few years, and I was surprised I’d written so much of it,” Dupuis recalls. “Social politics and protest have been a part of our music from day one, and I didn’t want to stop doing that on this album.” Four months and many new songs later, the result was Twerp Verse, which a press release describes as a “urgent, taught and pointedly witty” album that’s “tuned smartly to the political opacity of the present.” The album’s consonant title, too, is a nod to the importance of speaking out: “I call it a ‘twerp verse’ when a musician guests on a track and says something totally outlandish—like a Lil Wayne verse—but it becomes the most crucial part,” Dupuis explains. “I like ‘twerp’ as a diss, but in this meaning, the twerp is doing a service—shaking things up by being bold, not complacent, never silent.”

Speedy Ortiz  The band, made up of Dupuis on guitars, vocals and synths, Darl Ferm on bass and Mike Falcone on drums, is now joined by supporting guitarist Andy Molholt (of psych-pop act Laser Background).

“Lucky 88” is the first single from Speedy Ortiz’s forthcoming album, “Twerp Verse,” out April 27th on Carpark Records.,

Slugger, is the debut LP from Sad13 a.k.a. Sadie Dupuis, prioritizes self-possession in every sense. Sadie, who fronts the dynamite grunge-pop band Speedy Ortiz, forewent her usual modes of collaboration on Slugger, writing and producing the record herself–“to exorcise my control-freaky demons,” she says.

After Sadie moved to Philadelphia in early 2016, Slugger quickly began to take shape: “I wrote and played and recorded almost all of it in the two weeks I was subletting a friend’s tiny bedroom,” she says. Fittingly, directness, self-determinism, and intimacy are the bedrocks of Slugger’s overall tone. Sadie maintains her dignified wit even in less-than-ideal entanglements, as on the album’s opening track, “<2,” styled to resemble the level of affection of which a heart is capable when it’s been twisted out of shape. “I’m in less than two with you,” sings Dupuis, her crystalline voice steadfastly delicate and assured, recalling self-proprietary forebears like Liz Phair and Fiona Apple.

Imitating the reflexive wordplay of Slugger’s lyrics, Sad13’s bedroom recordings are largely about bedroom-based themes. She chews on what it means to give and receive consent, sexual and romantic autonomy, finding new modes of enjoying love and boning after destructive partnerships, shredding joyously past misogyny and other exclusionary gender politics, and so many more exploratory, non-exploitative areas of love. Throughout Slugger, Sadie makes her motives and desires invitingly clear. As she sings on the song “The Sting,” “You don’t know how I’d like to say yes”—but she intends to tell you, and to be heard in kind.

Slugger–produced by Dupuis, mixed by Gabe Wax (Beirut, Wye Oak, Boots) and mastered by Emily Lazar (Sia, HAIM, Sky Ferreira)–is less rock-principled than Sadie’s other projects, but the talented guitarist makes intelligent work of her instrument throughout the record. The guitar lines are layered with synth melodies written on her laptop and are, occasionally, joined by live drums from Julian Fader (currently of Ava Luna; formerly bandmates with Sadie in Quilty).

This matches Sadie’s penchant for bright, tricky assonance and Wilde-style wit, her verses like sailors’ knots tying her instrumentation carefully in place. Her MFA in poetry from—and stint teaching writing at—UMass Amherst are apparent. This is also true of the rapper, producer, and PhD student Sammus’s guest appearance on the album’s final track, “Coming Into Powers,” where she raps, “I’m a star/ I’m a pulsar.” The song closes the loop on a thought ribboning around Slugger on the whole: As Dupuis sings, “I want a life where I can be who I like / Look at me, looking back at me, recognizing who I see.” Slugger identifies an artist and person who, throughout this record, is her own best company.

“Less Than 2” is taken from Sad13’s album “Slugger,” out November 11th, 2016.

David Lynch fans are a very dedicated group, and the members of the indie rock band Speedy Ortiz are now among them. When it came time to make the video for “My Dead Girl,” the final video from their sophomore album, Foil Deer, band mates and film school alums Mike Falcone and Darl Fermwanted to create a crime story with an atmospheric feel. “More dreamy and noir than James Bond,” says Falcone. Director and cinematographer Elle Schneider—a veritable cinematic encyclopedia and co-inventor of the Digital Bolex—felt that Lynch’s Twin Peaks was both dreamy and creepy, and set out to fashion lead singer/songwriter Sadie Dupuis as a new version of Kyle MacLachlan’s Agent Cooper.

See the results, above, in this exclusive premiere of the “My Dead Girl.”

As Schneider explains, “Lynch’s masterful style, while often blanketly described as surreal, comes from a more idealistic viewpoint of willfully, almost forcefully, naive wonder about the world that isn’t often explored when his work is referenced or homaged.”

And although there are puppets in the video as well, Schneider explains that they were used as key characters in order to keep the tone intact and not for the sake of comedy. “They seemed like something that could feasibly appear in a dreamy state,” she says.

Dupuis – who’s lately been dressing herself for shows in skorts from American Two Shot – doubles as characters in Eraserhead, Mulholland Drive, Twin Peaks and Blue Velvet. And as the group readies for their next tour, where all proceeds will be going to the Girls Rock Camp Foundation, Dupuis explains that they simply wanted to remind people to be kind and charitable as 2015 comes to a close. “Do unto others as you would have rock bands do unto you, right?”

Foil Deer is for sale at iTunes and Carpark Records.

Speedy Ortiz
Sadie Dupuis: guitar, synths, vocals
Darl Ferm: bass, guitar
Michael Falcone: drums, piano, vocals
Devin McKnight: guitar