Posts Tagged ‘Speedy Ortiz’

Image may contain: 1 person, indoor

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.

speedy ortiz shervin lainez

Speedy Ortiz turned in the very good Foil Deer just last year, and that album’s recording sessions yielded some leftover material.  the Massachusetts quartet will release foiled again on june 3rd via Carpark Records, a four-track ep containing two new songs and two remixes of album track “puffer.”  today, Speedy Ortiz shared “Death Note,” a heavy track that pairs Sadie Dupuis’ whip-smart poetry with a crushing guitar riff.

“Death Note” is taken from Speedy Ortiz’s “Foiled Again” EP, out June 3rd.


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

KEXP Live presents Speedy Ortiz performing live in the KEXP studio. Recorded May 27, 2015.

The Graduates
Raising The Skate

Speedy Ortiz is an American indie rock band from Northampton, Massachusetts, United States. The band originated in 2011 as Sadie Dupuis solo project while she was teaching songwriting at a summer camp, recording her own material using her laptop. Two releases resulted from this solo endeavor, the Cop Kicker EP, and the album, The Death Of Speedy Ortiz.

The project expanded into a full band in late 2011. The group independently released “Taylor Swift” b/w “Swim Fan,” which was followed by 2012’s Sports, released on Exploding in Sound Records.

Their debut album, Major Arcana, was released on Carpark Records in 2013. The album was well received. Pitchfork Media deemed the album “Best New Music” In 2014, guitarist Matt Robidoux was replaced by fellow Massachusetts musician Devin McKnight of Grass is Green. On January 21, 2015, Dupuis announced their second studio album, “Foil Deer”, which was released on April 21, 2015.

Live at House of Vans at the SXSW festival in Austin Texas. 

Members of Speedy Ortiz are beginning to hit their stride.  This band of Western Massachusetts guitar music heroes The band — singer/guitarist Sadie Dupuis, new guitarist Devin McKnight , and drummer Mike Falcone  It’s a rare moment in the life of Speedy Ortiz — a day off. Over the last year, and 2014, in particular, they’ve been Road Dogs of the Highest Order, schlepping out on tours that have taken them all over the United States, Canada, Europe, and back. They’ve been on some impressive bills along the way: Stephen Malkmus & the Jicks, the Breeders, Los Campesinos, Joanna Gruesome, and Bonnaroo. shared a stage with Dinosaur Jr., Mac DeMarco, Those Darlins, and many more) on Saturday, July 12th, it’s out on the road again. One of the gigs on their upcoming tour will be at Chicago’s Pitchfork Festival, the eponymous live-music extravaganza of the site that, it can’t be argued, kicked the band into high demand in the first place when it rightly named their album Major Arcana Best New Music a year ago.

Major Arcana takes the guitar acrobatics and straightforward swing of many a ’90s band — Pavement, Helium, Polvo, Dinosaur Jr. — and wraps them all in Dupuis’s powerful, quivering voice and wry lyrics. Sadie Dupuis’s crunchy guitar histrionics are joined by the beefy chords of former guitarist Matt Robidoux (who took an indefinite hiatus from the band in May, replaced now by McKnight), and songs like “No Below” and “Tiger Tank” get their hooks in you on first listen. Falcone’s thundering drums and Ferm’s steady back end tie the whole thing up. Major Arcana is a major success, and it’s only now, with this bit of time off, that Dupuis and company have had time enough to work on any new material.


The one-two punch of Speedy Ortiz’s 2012 EP “Sports” and the 2013 album Major Arcana” made the band darlings of the indie world and standard bearers for the ’90s revival, since they play loud guitars and bear a passing resemblance to cultishly beloved grunge-era greats.  For Major Arcana’s follow-up, frontwoman Sadie Dupuis retreated to her mother’s home in the Connecticut woods and re-emerged with a batch of songs that should put some distance between her band and the neo-’90s gang.

“Puffer,” for instance, envelops listeners in thick waves of warm, fuzzy distortion with Sadie Dupuis intoning honey-sweet melodies seemingly right in their ear–a strangely calming sensation, and the kind of innovative spin on guitar rock that’s been hard to come by recently.


Every review of Speedy Ortiz you read is going to acknowledge their debt to beloved nineties indie rock bands. I’ll resist enumerating them all here if only to focus attention on the band’s irresistible songs and serious chops. Begun as the bedroom project of singer-songwriter-guitarist Sadie Dupuis, she recruited Mike Falcone on drums, Darl Ferm on bass, and Devin McKnight on guitar for 2012’s “Taylor Swift” single. Two EP’s and one Pitchfork Best New Music LP later, Speedy Ortiz have a well-stocked arsenal of rockers to draw from. The band manages to keep it loose while cohering as a whole that sounds like they’ve been playing together for much longer than the math would indicate. Dupuis’ vocals somehow hover above and intersect with the music, alternating between complementing and contrasting it. These songs are infectious. Her confessional lyrics evoke a nostalgia for shared experience, even if it’s an experience you’d rather forget. At least, that’s how I feel when I hear “Indoor Soccer.”


We were lucky enough to catch Speedy Ortiz at Mercury Lounge on their dual-headlining tour with Ex Hex. To illustrate how successful this band has been in such a short period of time, Ex Hex frontwoman Mary Timony happens to be the former frontwoman of one of those beloved nineties indie rock bands to which Speedy Ortiz are often compared. Speedy Ortiz can hold their own among giants.listen to selections from across their catalog; from the Major Arcana LP, Sports and Real Hair EPs, and even some deep cuts like “Doomsday” from a Less Artists More Condos 7” and “Bigger Party” from the 2014 Adult Swim Singles Series. Catching this band in a small venue is a major coup as they’re clearly going to be packing larger rooms very soon.



I allowed myself to be surprised and wowed by acts like Har Mar Superstar, Diarrhea Planet, and so many others. The band I want to mention now was completely the band I wanted to see anywhere last year . They were called Speedy Ortiz, fronted by a badass named Sadie Dupuis. In the tiny venue, they blew me away, and I’ve since become a loyal fan of their music, which “rings loud and clear by way of ass-kicking guitars, thunderous rhythms and a promising new voice,”. So I give them my highest recommendation, but also have to insist that you spend some time adrift in Austin, pushed and pulled by forces out of your control, so that you can find your own Speedy Ortiz


In a recent press release about Speedy Ortiz‘s new album, Foil Deer, bandleader Sadie Dupuis mentioned that the music “feels stronger.” There’s always been a certain confidence within the Massachusetts band’s songs, even the sad ones, that dates all the way back to the fuzzy brilliance of the 2012 single “Taylor Swift”  But “Raising the Skate” definitely feels like the band at its more empowered, and Dupuis’ diction is, per usual, razor-blade sharp. But just because I let you kill time dangling me from the quarry doesn’t mean that I won’t land on my feet, she sings softly during one of the song’s quieter moments, before it combusts into a sneering, muscular refrain: that’s cause I’m the boss, caller of the shots.

Dupuis says “Raising the Skate” is a mission statement of sorts. “It’s crazy frustrating seeing women and girls, myself included, put in positions in which they have to shirk credit for their talent or otherwise risk getting dissed as overbearing and bitchy,”  “Being ‘the bigger person’ and letting others’ petulant behavior slide doesn’t always make you feel big.”Foil Deer” is out April 21st via Carpark Records.