After five years, Speedy Ortiz is finally back. Today, the Philadelphia-based quartet led by Sadie Dupuis released Rabbit Rabbit. We can confidently say
We can confidently say that this is the group’s finest work yet. Speedy Ortiz spent time over the past few years, recording in several states and crafting its fourth album, which was produced by the band along with Sarah Tudzin of Illuminati Hotties. Ahead of‘s release, we caught up with the group and its four members broke down the stories and meaning behind every song on the album.—a novel about black metal, witchcraft, nihilism, and collective action power to destabilize.
Sadie: I tried my best to channel the unhinged synth and guitar leaps of Brainiac, forever an inspiration.Joey: I obsessed over this main drum beat for so long. Longer than anything else on the record. It needed more detail than just dancey hi-hats the whole time. It’s funky, it’s clinical and has made me a better drummer learning how to play it.
Audrey: The way the chorus guitar line sounds like it could be from a blues song out of context but is transformed into a really anthemic and big post-hardcore line, and that hitting with the super heavy drums, is such a good moment. Sadie: A bunch of artists have written or performed “Cry Cry Cry” songs—this one’s in a lineage after Johnny Cash, Peggy Lee, Connie Smith, and Roxy Music. My “Cry Cry Cry” was painful to work on, but it’s also the song I’m proudest of. It’s about my alienation from tears and tendency toward minimization in the wake of childhood abuse. I’m a long way removed from that time, but I squirm when I have to sit with painful feelings.
Andy: This was a moment of real true collaboration between me and Sadie, with different sections of “my” guitar part being written by both of us. It was really fun to sit together in my living room and question, “What does this section ?” and go from there. Also had a lot of fun with the Onde Magnétique on this one, especially during the intro.
Audrey: When we were at Sonic Ranch tracking overdubs, we wanted Andy to use a specific organ in a different studio than we were using, so we waited until late one night when the session there had wrapped and really quickly all ran over to get some organ tracks as quick as possible. I just remember sitting in the control room listening to Andy play a really beautiful organ and looking around like, “Yeah, this is a good place to be.
Andy: I especially love the intro here and Audrey’s very strange melody. Also, the outro was sculpted during our practice space sessions and finessed by a suggestion from Joey. I would suggest that in these ways, this is the most collaborative Speedy Ortiz record that I’ve been a part of, and I really think the album benefits from these loving touches.
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