Posts Tagged ‘Speedy Ortiz’

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.

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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

 

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Making music is a lot like possession, a concept Sadie Dupuis of Speedy Ortiz took literally with her second solo release as Sad13, Haunted Painting. A horror story written with a glittery gel pen, the album traverses themes as diverse as cancel culture and comedians (“Hysterical”), isolation (“Ghost (of a Good Time”)), and a right-wing coup d’état that overthrew Argentina’s government in 1976 (“Into the Catacombs”). Dupuis, who is also a published poet, has the uncanny ability to make the sacred profane and the profane sacred; an album that could have been a spooky pastiche in a lesser writer’s hands is just as uniquely haunting as its title promises.

The title of Sad13’s (aka Sadie Dupuis of Speedy Ortiz fame) new album is Haunted Painting, and while that may recall memories of The Haunted Mansion or the animated inhabitants adorning the walls of Hogwarts castle, it was actually inspired by a real-life portrait. Dupuis was consumed by a Franz von Stuck work at the Frye Gallery in Seattle, and she was so taken with the subject’s hollow eyes and glum face she named her second solo album in its honour and plastered a similar portrait of herself on its cover. The actual contents of the record, however, are far from gloomy, as she attacks pop standards with her sharp and shiny brands of song writing and production. Outside of a drummer and, in two cases, an eight-string orchestra, Dupuis takes care of all the other instrumentation herself—glockenspiel included—but the record features guest vocal appearances from an impressive cast including Helado Negro’s Roberto Lange, Deerhoof’s Satomi Matsuzaki, Merrill Garbus of tUnE-yArDs and Pile’s Rick Maguire. It’s all quite an intriguing concept from one of indie rock’s best writers, and we can’t wait to hear what Dupuis cooks up this time.

1 per album sale in 2020 will benefit Prevention Point Philadelphia, a harm reduction organization providing free medical care, syringe exchange, shelter, overdose reversal training, and other vital social services. Learn more about them at ppponline.org.

Ghost (of a Good Time)” from Haunted Painting, out September 25th, 2020 http://www.sad13.horse http://www.sad13.bandcamp.com

Sadie Dupuis – production, engineering, arrangements, guitar, bass, synth, organ, drum programming, vocals Zoë Brecher – drums, percussion Merrill Garbus – vocals Maryam Qudus – engineering, handclaps

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

“DTMFA” was the last song I wrote and recorded for the Sad13 album, but something about it felt yacht rock i.e. better suited for Speedy Ortiz. So with some synth leads swapped for guitar lines, it was one of the first we worked on as a band for Twerp Verse, and a live staple in 2016. The Poet’s Seat is an observation tower in Western Mass, which I was visiting around the time I wrote this. I was also carrying around a tincture that was supposed to help me commune with ghosts. Basically, looking for guidance any place I could find it, because I really needed to DTMFA, the motherfucker being all my stupid baggage. We’re happy it has a home with the Adult Swim Singles Series alongside our 2014 entry “Bigger Party,” one of the earliest Speedy demos I made which was quite literally about a time I made out with all of the person I liked’s friends. Faux pas!!! I’m way older and wiser now and hopefully I’ve been forgiven!!! Even though I’m never that sorry.
Releases October 12th, 2019

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

 

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There are some great releases out this week, with the new Blossoms LP having been eagerly awaited by everyone from the young to the… less young,  There is a standard CD edition and a deluxe 2CD edition (inc. acoustic versions of all the tracks on the album), a standard LP and an in-store only deluxe LP with the same acoustic versions as found on the CD!  Also a new Okkervil River LP which, though more political, still maintains the playful but sincere songwriting charm and perfectly measured anthemic melodicism we’ve come to expect from them.

As well as those two, a superb new Speedy Ortiz you really need to hear this one, it’s excellent and an evolved follow-up to 2014’s ‘Hills End’ from the DMA’s, mixing the jangling britpop era guitars of Oasis etc with some more refined production, and psychedelic influence from the years since the britpop ‘boom’.

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Blossoms – Cool Like You

Blossoms second album sees them return with 11 tracks of 80s inspired synth-layered pop bliss. On lead single I Can’t Stand It, the band bring the tempo up and combine it with cascading synth riffs, while There’s A Reason Why (I Never Returned Your Calls) brings a previously unheard anthemic rock quality to the bands sound.

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Forth Wanderers  –  Forth Wanderers

Forth Wanderers employ a tin-can-telephone style of composition which they use even when living in the same area code. Since first collaborating in 2013 as Montclair, New Jersey high schoolers, guitarist and songwriter Ben Guterl and vocalist Ava Trilling have passed songs back and forth like pen pals. Guterl will devise an instrumental skeleton before sending it to vocalist Ava Trilling who pens the lyrics based off the melody. The duo then gather alongside guitarist Duke Greene, bassist Noah Schifrin, and drummer Zach Lorelli to expand upon the demo. It’s a patient and practiced writing system that has carried the quintet through two EPs (2013’s Mahogany and 2016’s Slop) and one LP (2014’s Tough Love). Forth Wanderers, the group’s sophomore record and Sub Pop debut, is the groups’ most comprehensive and assured statement yet.

Now living in Ohio and New York respectively, Guterl and Trilling have evolved their separate but collaborative writing process. “The only way I can really write is by myself in my room with a notebook, listening to the song over and over again,” Trilling says. “I’ve never sat down to write a story, I write the song as it unfolds.” Since her lyrics are often embedded with intimate truths from her life, the private writing experience often leads to intense self-reflection.

On Forth Wanderers these introspections include meditations on relationships, discovery, and finding oneself adrift. Despite the inherent heaviness of those themes, Forth Wanderers feels joyous, a rock record bursting with heart. Take “Not for Me,” a romping track about “the ambivalence of love.” Trilling’s confession of “I can’t feel the earth beneath my feet/Flowers bloom but not for me” resists feeling like a dreary, pitying complaint; instead, as her bandmates bolster her melancholy with interlocking harmonic intricacies, she soars with self-actualization. Opener “Nevermine,” is a surge of confidence inspired by an ex-lover who is still captivated by her image. “I don’t think I know who you are anymore/And I think I knew who I was before,” she jabs with relish. On “Ages Ago” Trilling paints the image of a constantly-shifting enigmatic lover. “I wasn’t sure who they were, they changed constantly (hence the metaphor describing the “grey coat” and cutting their hair just to “stay afloat”),” she says. “I wasn’t going to wait any longer to find out.”

Recorded over five days by friend and audio engineer Cameron Konner at his Philadelphia home studio, Forth Wanderers amplifies the heartfelt sentiments of their earlier works into massive anthems. Guterl and Greene’s guitars have never sounded sharper, Schifrin and Lorelli’s terse rhythm section is restless, and Trilling sounds more self-assured than ever. These are exuberant, profound songs driven by tightly bound melodies and a loving attention to detail.

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DMA’s  –   For Now

Produced by the band alongside Kim Moyes of The Presets, For Now is a gloriously uplifting album of beautifully honed, passionately emotive rock’n’roll songs. A teaser of what to expect emerged late last year when intro track Dawning was released. Demonstrating that the DMA’S are brimming with confidence, its crowd-pleasing hook and rich melodies made for the kind of timeless indie anthem that bands rarely seem to write any more.While the collection echoes the strident, hook-heavy Britpop and Madchester influences of the band’s debut on tracks such as the explosive opener For Now and Depeche Mode-esque Do I Need You Now?, it’s also an album that demonstrates a very organic evolution. The End (written by guitarist Johnny Took) shows Kim Moyes’ influence with its dark electronic production and synths, while the psychedelic-tinged Emily Whyte (written by guitarist Matt Mason) erupts into an epic, blissed out album closer.

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Speedy Ortiz  – Twerp Verse

“Necessary brattiness” is the motto for Speedy Ortiz’s dauntless new collection of songs, Twerp Verse, out via Carpark Records. The follow-up to 2015’s acclaimed Foil Deer, the band’s latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they’ve endured from society’s margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being “outrageous and practical” in order to be heard at all. Twerp Verse, Speedy’s third album and first with Philadelphian Andy Molholt (Laser Background) on second guitar, is urgent and taut, adding surprising textures like Linn drums and whirled guitar processing to their off- kilter hooks. The band’s camaraderie and crate-digging is evident, with diffuse reference points like Squeeze, Hop Along, Prince, Paramore, and Brenda Lee being sucked into the band’s chaos. Even when Dupuis sings of alienation and political weariness, the pop maelstrom swirling around her provides a defiantly charged, mussed-but-hooky optimism.

LP+ – Deluxe LP is pink coloured vinyl with rainbow splatter in Gatefold jacket. Includes Bonus 7” (A Side: Le Mans B Side: Saint Fret) Includes Lyric Sheet Insert and Download.

Tiny ruins some were meant for sea preview

Tiny Ruins – Some Were Meant For Sea

Reissue of the New Zealanders album on Gold vinyl with Download Code. Never before released on vinyl in the UK the album, Some Were Meant For Sea exists in dappled warmness: Fullbrook’s striking vocal timbre conjuring a natural imagery born from earth and sea. Recorded in a diminutive hall, once the local school of South Gippsland, Fullbrook worked with producer J Walker (Holly Throsby, Machine Translations) and between the pair, some cello, violin, piano and accordion were added to the otherwise bare-boned songs, which were all recorded entirely live.

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  is back, The Fabulous front woman Sadie Dupuis has mastered the balance of playing familiar material from her band’s early catalog while letting what’s on the horizon shine. Speedy Ortiz performed twice during SXSW during the week, and while the setlists were different, each was book ended with ear candy from the excellent albums  Foil Deer and Major Arcana albums, both are filled with gems,  Sadie has a penchant for writing great songs like the triumphant “Lucky 88”—from the band’s upcoming newest and upcoming album Twerp Verse (out April 27 on Carpark). Always eclectically dressed and with an array of ornate headpieces, Dupuis is so delightful to see and hear live. She frequently loses herself in the bombastic music played by her band, but always maintains her presence onstage, to the point that you can feel her cycling through the thoughts and emotions of her intriguing songwriting.

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“Lean In When I Suffer” is the second single from Speedy Ortiz’s forthcoming album, “Twerp Verse,” out April 27th on Carpark Records.