It’s been ten years since Sadie Dupuis recorded and self-released the first Speedy Ortiz songs as a home-recorded solo project with her performing every instrument. Those early collections have remained largely off-line since appearing on Bandcamp in 2011, but in celebration of Speedy Ortiz’s tenth anniversary, they will be made widely available for the first time and reissued as a double LP entitled The Death of Speedy Ortiz & Cop Kicker…Forever. Featuring the contents of Cop Kicker EP, The Death of Speedy Ortiz LP and bonus tracks …Forever entirely remixed and remastered, it will also include previously unreleased tracks, reflective liner notes penned by Dupuis, and unearthed photos and journal scans from that era. The reissue features extensive production updates from Dupuis (now an established solo artist and producer with her newer project, Sad13), mixing from Speedy’s long term collaborator Justin Pizzoferrato (Dinosaur Jr., Sebadoh), and mastering from Emily Lazar (HAIM, Liz Phair). Pre-order The Death of Speedy Ortiz & Cop Kicker…Forever, out digitally on November 12th and physically as a double LP on January 28th via Carpark Records.
In addition to the announcement of The Death of Speedy Ortiz & Cop Kicker…Forever, today the project releases the updated version of “Cutco” with the first-ever music video directed and edited by Dupuis. In true Sadie Dupuis style, the video is, of course, horror film-inspired. “Rewatching Blair Witch Project, I found the characters’ treatment of one another exemplary of the early 20s heedlessness I was venting about on ‘Cutco.’ So with some help from my Speedy bandmates Andy Molholt and Audrey Zee Whitesides, we made a shot-for-shot homage to a ’90s horror classic—with one delicious change to the formula,” she says.
“I can’t claim Speedy as a solo project anymore—I love working with the friends and bandmates who have played and recorded with me over the years—and I’m glad I now have Sad13 as an outlet for my home-produced concoctions. But I’m so proud of these 22 solo songs, which I put a lot of heart and time and sweat into in both 2011 and 2021, and it feels right to honor them by finally re-releasing them with Carpark (who I’ve worked with for pretty darn close to a decade, too) in a more widely listenable way,” says Dupuis in the record’s liner notes. “Happy 10th birthday, Speedy Ortiz, and thanks to everyone who’s been following along. Me at 23 and me at 32 love you very much.”
Naomi Alligator, the project of Los Angeles-based songwriter and multi-media artist Corrinne James, shares a video for “Anywhere Else,” the new single from her upcoming EP and Carpark Records debut, Concession Stand Girl.
Inspired by the sparse and confessional qualities of Liz Phair’s early portastudio recordings, James uses the project as her own musical journal to share and process personal anecdotes. Her modern folk production and poetic songwriting links the sounds of artists like Joan Baez and Steeleye Span to a 21st-century context.
“Anywhere Else” sits in contrast to the rest of the EP, being the only song where James plays guitar instead of banjo. The last song written for the EP, “Anywhere Else” describes the tense emotions that come from comparing yourself to others in the eyes of your partner. “The protagonist is convincing herself, as well as her partner, that she could leave at any moment. She doesn’t want to be taken for granted anymore,” says James.
Of the video she says “I made this video on a rainy summer day. It serves as a farewell letter to my life in Virginia. A week after I finished shooting the video, I moved to California. While I was editing and looking back on clips to include, I kept returning to the funny and loving clips I captured of my family before I left.” @naomi_alligator
Naomi Alligator, the alias of Los Angeles-based songwriter and multi-media artist Corrinne James announces Concession Stand Girl, her new EP and Carpark Records debut. (Naomi Alligator) animated the video for the track herself and has done videos for Slow Pulp and Emily Yacina in the past!
Inspired by the sparse and confessional qualities of Liz Phair’s early portastudio recordings, James uses the project as her own musical journal to share and process personal anecdotes. Her modern folk production and poetic songwriting links the sounds of artists like Joan Baez and Steeleye Span to a 21st century context.
Of the track James says: “I only used to go to high school football games to see my crushes. I was always really nervous and excited to be seen by the whole school at night. Everything felt personal and yet overwhelming, especially on the bleachers when standing under the giant lights. The Concession Stand Girl runs a stand at a high school football game. Her job is to observe the crowd and cater to their needs, but she goes unnoticed. This song is about all of the people that go unnoticed and the dynamic lives that they lead. Sometimes we exist as The Concession Stand Girl and other times we exist as the people that walk by.”
Playing a home show still feels special for The Beths, who began playing shows in 2015 and quickly won over local audiences with a low-key approach that disguised their drive for excellenceThe band announced its first live recording and film, Auckland, New Zealand, 2020, out September 17th on Carpark Records. The announcement also comes on the three-year anniversary of the release of their debut album, Future Me Hates Me. Auckland, New Zealand, 2020 showcases the infectious energy The Beths bring to every performance. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans. “Watching the film for the first time brought back all the emotions of 2020 for us. Sports Team have done such an amazing job of capturing the mix of anxiety and simple joy that was touring music in NZ at the time. We are so grateful that it happened and grateful to have it documented with so much love and care,” says lead vocalist/guitarist Elizabeth Stokes.
After building a loyal following through live performances and their 2016 EP Warm Blood, The Beths signed to Carpark Records and released the debut album, Future Me Hates Me, in 2018. Jump Rope Gazers, released in July 2020, was a slower, yearning follow-up that still fizzes and sparks with pop-punk sensibilities.
Auckland, New Zealand, 2020 has its genesis in an urge to share the now-rare experience of a live show as widely as possible. The accompanying film makes the deep bond Stokes, lead guitarist Jonathan Pearce, bassist Benjamin Sinclair, and drummer Tristan Deck clearer than ever: capturing the in-jokes they share with audiences during on-stage banter, and foregrounding their mutual preoccupations with the game of cricket and New Zealand’s native birds. It’s a collective exhalation, in one of the few countries where live music is still possible. They deliberately include the date and location, because “That’s the sensational part of what we actually did,” says Pearce. In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.
The band will follow up the release of Auckland, New Zealand, 2020 with a North American headline tour in 2022. “Our last North American tour was in summer of 2019, which feels like a century ago.
There is no way to describe how much we have wanted to be over there playing music. Finally it is happening?! See you soon. xo,” says Liz.
Fri. Sept. 17, 2021 – Auckland, NZ @ The Others Way
Tue. Sept. 28, 2021 – Auckland, NZ @ Whammy Bar
Wed. Sept. 29, 2021 – Auckland, NZ @ Whammy Bar
Thu. Sept. 30, 2021 – Auckland, NZ @ Whammy Bar
Fri. Oct. 1, 2021 – Auckland, NZ @ Whammy Bar
Sat. Oct. 2, 2021 – Auckland, NZ @ Whammy Bar
Fri. Oct. 22, 2021 – Tauranga, NZ @ Tauranga Arts Festival
Sat. Oct. 23, 2021 – Hawke’s Bay, NZ @ Labour of Love
Fri. Oct. 29, 2021 – Wellington, NZ @ San Fran
Sat. Oct. 30, 2021 – Wellington, NZ @ College of Creative Arts, Massey University (AA show)
Sun. Oct. 31, 2021 – Nelson, NZ @ Nelson Arts Festival
Thu. Nov. 4 – Sydney, NSW @ Factory Theatre
Fri. Nov. 5 – Brisbane, QLD @ The Zoo
Sat. Nov. 6 – Melbourne, VIC @ The Night Cat
Sat. Dec. 4 – Auckland, NZ @ The Outerfields
Thu. Jan. 20, 2022 – Washington, D.C. @ Black Cat
Fri. Jan. 21, 2022 – Philadelphia, PA @ Underground Arts
Sat. Jan. 22, 2022 – New York, NY @ Rough Trade (in-store signing)
Sat. Jan. 22, 2022 – New York, NY @ Webster Hall
Sun. Jan. 23, 2022 – Boston, MA @ The Sinclair
Tue. Jan. 25, 2022 – Montreal, QC @ Bar Le Ritz
Wed. Jan. 26, 2022 – Toronto, ON @ Lee’s Palace
Fri. Jan. 28, 2022 – Chicago, IL @ Metro
Wed. Feb. 2, 2022 – Calgary, AB @ Commonwealth
Fri. Feb. 4, 2022 – Vancouver, BC @ Biltmore Cabaret
Sat. Feb. 5, 2022 – Seattle, WA @ Neumos
Sun. Feb. 6, 2022 – Portland, OR @ Wonder Ballroom
Tue. Feb. 8, 2022 – San Francisco, CA @ The Independent
Thu. Feb. 10, 2022 – Los Angeles, CA @ Regent Theater
Sat. Feb. 12, 2022 – Phoenix, AZ @ Valley Bar
Tue. Feb. 15, 2022 – Austin, TX @ Parish
Wed. Feb. 16, 2022 – Dallas, TX @ Club Dada
Fri. Feb. 18, 2022 – Atlanta, GA @ Masquerade (Hall)
Sat. Feb. 19, 2022 – Nashville, TN @ Mercy Lounge
Sun. Mar. 27, 2022 – Southampton, UK @ The Loft
Mon. Mar. 28, 2022 – Leeds, UK @ Brudenell Social Club
Tue. Mar. 29, 2022 – Glasgow, UK @ St Luke’s
Thu. Mar. 31, 2022 – Manchester, UK @ Club Academy
Fri. Apr. 1, 2022 – Bristol, UK @ SWX
Sat. Apr. 2, 2022 – Birmingham, UK @ The Castle and Falcon
Mon. Apr. 4, 2022 – London, UK @ O2 Forum Kentish Town