{"id":589291,"date":"2023-08-31T17:29:19","date_gmt":"2023-08-31T14:29:19","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/whos-afraid-of-speedy-ortiz\/"},"modified":"2023-08-31T17:29:19","modified_gmt":"2023-08-31T14:29:19","slug":"whos-afraid-of-speedy-ortiz","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/whos-afraid-of-speedy-ortiz\/","title":{"rendered":"#Who\u2019s afraid of Speedy Ortiz?"},"content":{"rendered":"<div class=\"content_blocks\">\n<style>\n #content_block-252376 {\n   background: #023d03;\n   padding-bottom: 40px;\n }<\/p>\n<\/style>\n<style>\n<p> #content_block-252376 {\n   background: #023d03;\n   margin-bottom: 60px;\n }<\/p>\n<p> article.custom .custom-title, article.custom .custom-<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">media<\/a> .caption {\n   color: #ffffff;\n }<\/p>\n<p> article.custom .custom-attribution, article.custom .custom-attribution a {\n   color: #ffffff;\n }<\/p>\n<p> article.custom .content_block blockquote.pull_quote {\n   color: #ffffff;\n }\n<\/style>\n<div id=\"content_block-252376\" class=\"content_block flush title center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"custom-title\">\n      Who\u2019s afraid of Speedy Ortiz?\n    <\/div>\n<div class=\"custom-description\">\n      Sadie Dupuis discusses everything that went into the making of her band\u2019s new album, <i>Rabbit Rabbit<\/i>, on The FADER Interview.\n    <\/div>\n<div class=\"custom-attribution\">\n<div class=\"author\">\n    <span><br \/>\n      By <span class=\"credit_name\">Walden Green<\/span><br \/>\n  <\/span><\/div>\n<\/p><\/div>\n<div class=\"custom-media\">\n<div class=\"triple_gutter_left triple_gutter_right image center_align\">\n<p>  <img decoding=\"async\" src=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_1440,c_limit,f_auto,q_auto:best\/35c4419c9f824f36c2fdea9329aea569rqEofWTPRpbZgFHY-0_kmlxfp\/speedy-ortiz-photo-by-a-target-_new-href-https-www-instagram-com-shervinfoto-hl-en-shervin-lainez-a.jpg\" srcset=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_220,c_limit,f_auto,q_auto:best\/35c4419c9f824f36c2fdea9329aea569rqEofWTPRpbZgFHY-0_kmlxfp\/speedy-ortiz-photo-by-a-target-_new-href-https-www-instagram-com-shervinfoto-hl-en-shervin-lainez-a.jpg 220w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_300,c_limit,f_auto,q_auto:best\/35c4419c9f824f36c2fdea9329aea569rqEofWTPRpbZgFHY-0_kmlxfp\/speedy-ortiz-photo-by-a-target-_new-href-https-www-instagram-com-shervinfoto-hl-en-shervin-lainez-a.jpg 300w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_400,c_limit,f_auto,q_auto:best\/35c4419c9f824f36c2fdea9329aea569rqEofWTPRpbZgFHY-0_kmlxfp\/speedy-ortiz-photo-by-a-target-_new-href-https-www-instagram-com-shervinfoto-hl-en-shervin-lainez-a.jpg 400w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_600,c_limit,f_auto,q_auto:best\/35c4419c9f824f36c2fdea9329aea569rqEofWTPRpbZgFHY-0_kmlxfp\/speedy-ortiz-photo-by-a-target-_new-href-https-www-instagram-com-shervinfoto-hl-en-shervin-lainez-a.jpg 600w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_750,c_limit,f_auto,q_auto:best\/35c4419c9f824f36c2fdea9329aea569rqEofWTPRpbZgFHY-0_kmlxfp\/speedy-ortiz-photo-by-a-target-_new-href-https-www-instagram-com-shervinfoto-hl-en-shervin-lainez-a.jpg 750w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_840,c_limit,f_auto,q_auto:best\/35c4419c9f824f36c2fdea9329aea569rqEofWTPRpbZgFHY-0_kmlxfp\/speedy-ortiz-photo-by-a-target-_new-href-https-www-instagram-com-shervinfoto-hl-en-shervin-lainez-a.jpg 840w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_960,c_limit,f_auto,q_auto:best\/35c4419c9f824f36c2fdea9329aea569rqEofWTPRpbZgFHY-0_kmlxfp\/speedy-ortiz-photo-by-a-target-_new-href-https-www-instagram-com-shervinfoto-hl-en-shervin-lainez-a.jpg 960w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1260,c_limit,f_auto,q_auto:best\/35c4419c9f824f36c2fdea9329aea569rqEofWTPRpbZgFHY-0_kmlxfp\/speedy-ortiz-photo-by-a-target-_new-href-https-www-instagram-com-shervinfoto-hl-en-shervin-lainez-a.jpg 1260w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1800,c_limit,f_auto,q_auto:best\/35c4419c9f824f36c2fdea9329aea569rqEofWTPRpbZgFHY-0_kmlxfp\/speedy-ortiz-photo-by-a-target-_new-href-https-www-instagram-com-shervinfoto-hl-en-shervin-lainez-a.jpg 1800w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_2400,c_limit,f_auto,q_auto:best\/35c4419c9f824f36c2fdea9329aea569rqEofWTPRpbZgFHY-0_kmlxfp\/speedy-ortiz-photo-by-a-target-_new-href-https-www-instagram-com-shervinfoto-hl-en-shervin-lainez-a.jpg 2400w,\" sizes=\"100vw\" alt=\"Who\u2019s afraid of Speedy Ortiz?\"><span class=\"img_caption\"><\/p>\n<p>    <span class=\"caption\"><br \/>\n      Speedy Ortiz. Photo by <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.instagram.com\/shervinfoto\/?hl=en\">Shervin Lainez<\/a>.<br \/>\n    <\/span><\/p>\n<p>  <span class=\"credit\"><br \/>\n      \u00a0<\/p>\n<p>  <\/span><\/p>\n<p><\/span><\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<div class=\"custom_share_buttons_top \" style=\"\">\n<div id=\"new_socials_bottom\" class=\"new_socials_footer  \">\n<p>      <img loading=\"lazy\" decoding=\"async\" class=\"\" width=\"40\" height=\"40\" src=\"https:\/\/www.thefader.com\/assets\/FDR_SocialSharing_Facebook-747312c39722d47504a80f02500b8d4ad2e36acf922bad1c83799db1bc77f605.png\"><!-- <span>Share<\/span> --><\/p>\n<p>  <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/twitter.com\/intent\/tweet?url=https%3A%2F%2Fwww.thefader.com%2F2023%2F08%2F31%2Fwhos-afraid-of-speedy-ortiz%3Futm_source%3Df%26utm_medium%3Dtw%26utm_campaign%3Dshare&amp;text=Who%E2%80%99s%20afraid%20of%20Speedy%20Ortiz?&amp;via=thefader\" class=\"new_social_footer_button twitter new_social_share_button\" data-ga-event-category=\"Social Share\" data-ga-event-label=\"Twitter\" data-ga-on=\"click\" data-ga-event-action=\"cilck\"><\/p>\n<p>    <img loading=\"lazy\" decoding=\"async\" class=\"\" width=\"40\" height=\"40\" src=\"https:\/\/www.thefader.com\/assets\/FDR_SocialSharing_Twitter-8d78f695280aa3f8a4461702c68e9fcbfd6042af1600c62d49fdec4b735fb57a.png\"><!-- <span>Tweet<\/span> --><\/a><\/p>\n<p>        <img loading=\"lazy\" decoding=\"async\" class=\"\" width=\"20\" height=\"20\" src=\"https:\/\/www.thefader.com\/assets\/logo-snapchat-5f1563935ac089d0cf1773f642ddbfb6cdb16e8c4ac14fec95a3c11b6f963389.svg\"><!-- <span>Snap<\/span> --><\/p>\n<\/div><\/div>\n<style>\n<\/style>\n<div id=\"content_block-252377\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>            <span class=\"lead-text\">When Kim Cattrall<\/span> made her long-awaited return as Samantha Jones last week to the <i>Sex and the City<\/i> spinoff <i>And Just Like That\u2026<\/i>, it was with many, many stipulations: She would <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">app<\/a>ear for no more than ninety seconds, in a scene without any of her former co-stars, styled by Patricia Field, who did costumes for the original <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/watch-movies-tv-seriess\/\" data-internallinksmanager029f6b8e52c=\"8\" title=\"Watch Movies &amp; TV Series\" target=\"_blank\" rel=\"noopener\">series<\/a> almost twenty years ago. Not to mention the check, which has been rumored to be in the seven-figure range. Catrall\u2019s rationale for all this, per an <a rel=\"nofollow noopener\" target=\"_blank\" style=\"color:#1f953a\" href=\"https:\/\/www.theguardian.com\/lifeandstyle\/2019\/aug\/10\/kim-cattrall-i-dont-want-to-be-in-a-situation-for-even-an-hour-where-im-not-enjoying-myself-\">interview with <i>The Guardian<\/i><\/a>: \u201cI don\u2019t want to be in a situation for even an hour where I\u2019m not enjoying myself.\u201d<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            <a rel=\"nofollow noopener\" target=\"_blank\" style=\"color:#1f953a\" href=\"https:\/\/www.instagram.com\/sad13\/?hl=en\">Sadie Dupuis<\/a> is 35 now, and she\u2019s trying to make better choices, too. The Speedy Ortiz frontwoman wrote \u201cKim Catrall,\u201d the opening song on her band\u2019s new album <i>Rabbit Rabbit<\/i>, before that <i>Guardian<\/i> interview was published, but the song\u2019s title is an even better fit now. The first Speedy project in five years, Dupuis wrote the record after escaping an unenjoyable situation of her own: her late \u201920s. Make no mistake, though: <i>Rabbit Rabbit<\/i> is not a well-adjusted LP.<\/p>\n<p>            A few weeks before <i>Rabbit Rabbit<\/i>\u2019s release, I spoke to Sadie about the books, musical partnerships, life changes, and premium TV actresses that helped shape the album\u2019s final form: a messy excoriation of traumas and bad decisions, at once catchier and more dissonant than any Speedy Ortiz record before it.<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252378\" class=\"content_block breaker triple_gutter_right triple_gutter_left image\">\n<div class=\"media_wrapper\">\n<p>  <img decoding=\"async\" src=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_1440,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit__Chris_Carreon.jpg_1_1_1_nhbe1j\/whos-afraid-of-speedy-ortiz.jpg\" srcset=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_220,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit__Chris_Carreon.jpg_1_1_1_nhbe1j\/whos-afraid-of-speedy-ortiz.jpg 220w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_300,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit__Chris_Carreon.jpg_1_1_1_nhbe1j\/whos-afraid-of-speedy-ortiz.jpg 300w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_400,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit__Chris_Carreon.jpg_1_1_1_nhbe1j\/whos-afraid-of-speedy-ortiz.jpg 400w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_600,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit__Chris_Carreon.jpg_1_1_1_nhbe1j\/whos-afraid-of-speedy-ortiz.jpg 600w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_750,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit__Chris_Carreon.jpg_1_1_1_nhbe1j\/whos-afraid-of-speedy-ortiz.jpg 750w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_840,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit__Chris_Carreon.jpg_1_1_1_nhbe1j\/whos-afraid-of-speedy-ortiz.jpg 840w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_960,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit__Chris_Carreon.jpg_1_1_1_nhbe1j\/whos-afraid-of-speedy-ortiz.jpg 960w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1260,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit__Chris_Carreon.jpg_1_1_1_nhbe1j\/whos-afraid-of-speedy-ortiz.jpg 1260w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1800,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit__Chris_Carreon.jpg_1_1_1_nhbe1j\/whos-afraid-of-speedy-ortiz.jpg 1800w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_2400,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit__Chris_Carreon.jpg_1_1_1_nhbe1j\/whos-afraid-of-speedy-ortiz.jpg 2400w,\" sizes=\"100vw\" alt=\"Who\u2019s afraid of Speedy Ortiz?\"><span class=\"img_caption\"><\/p>\n<p>  <span class=\"credit\"><\/p>\n<p>      Shervin Lainez<\/p>\n<p>  <\/span><\/p>\n<p><\/span><\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252379\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>            <i>The following Q&amp;A is the full transcript of The FADER Interview\u2019s latest episode, lightly edited for clarity. Find the new episode and The FADER Interview\u2019s full archive at <a rel=\"nofollow noopener\" target=\"_blank\" style=\"color:#1f953a\" href=\"https:\/\/link.chtbl.com\/thefaderinterview\">this link<\/a>, embedded below, or wherever you listen to podcasts.<br \/>\n          <\/i><\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252380\" class=\"content_block paragraph embed triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"media_wrapper\">\n<div class=\"\">\n    <iframe loading=\"lazy\" frameborder=\"0\" src=\"https:\/\/playlist.megaphone.fm?p=TFI7834680816&amp;light=true\" width=\"100%\" height=\"482\"><\/iframe>\n<\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252381\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>            <b>The FADER:<\/b> I guess we\u2019ve gotta start with Kim Cattral, as in why her?<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            <b>Sadie Dupuis:<\/b> It\u2019s funny: I think we\u2019re taping this the day before she\u2019s set to appear on <i>And Just Like That<\/i>. Before she committed to doing this one-minute scene where she brought back original costume designer Pat Field and negotiated all these things to make it as tolerable for herself as possible, she had refused to return to the show, citing her treatment by fellow cast members. She was old enough that it wasn\u2019t worth it for any price to tolerate uncomfortable work situations and interpersonal relationships. <\/p>\n<p>            The song has really very little to do with Kim Cattrall at all. I wrote it in part after reading Jenny Hval\u2019s book <i>Girls Against God<\/i>. The song opens with a nod, not only to that book but\u2026 It\u2019s about some of the trauma-informed decision making that got me to my early\/mid 30s, which is where I was when I was writing this record. And it\u2019s about feeling grateful for having survived not only bad circumstances but my own stupid decisions, feeling like it\u2019s magical to get to be in this world where, despite whatever horrors are happening, we get to be with one another. So [It\u2019s about] choosing better decisions as I get older so I can continue to have more days on this earth.<\/p>\n<p>            When I read all these Kim Cattrall interviews about \u201cno amount of money will bring me back to the show, which is a toxic work environment,\u201d it [lined] up with the sentiment of the song. And then, of course, she did say yes to the show, but on her own terms, damn it.<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            <b>That song has a lyric that really jumped out at me the first time that I heard it: \u201cI\u2019m not like other girls, and I am.\u201d What\u2019s your take on the not-like-other-girls-ness of it all?<\/b><\/p>\n<p>            Part of what I was trying to write in this song, and I think you\u2019re the first person who\u2019s asked about it\u2026 In my lyrics, ever since I was in high school, I\u2019ve been questioning my relationship to my gender, whether I relate to any gender identity whatsoever, and that\u2019s true in the full Speedy Discography. I can point to stuff on every record that\u2019s under a similar theme. Part of what I was ruminating on when I wrote this song is that the reason I don\u2019t sit and think about that and come up with an answer for myself is because I\u2019m processing all these other things from my past and just trying to get through day to day. <\/p>\n<p>            So, in part, [\u201cKim Cattrall\u201d] was about not overthinking what I\u2019m doing and who I am and driving myself insane with these existential questions, because it can pull me out of the magical things in the world around me if I get too focused on who I am in my relationship to myself. It opens with a reference to that Jenny Hval book, but it\u2019s sort of a dual thing: The line is, \u201cGirls are against God, but I\u2019m not one,\u201d and I left it open \u2014 I\u2019m not a god, and I\u2019m also not a girl.<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            <b>At a couple of points on the album, you take symbols of very traditional femininity and recast them as oppressive images, like when you talk about the lace of a petticoat around your neck.<\/b><\/p>\n<p>            Yeah, on the song \u201cPlus One.\u201d What\u2019s this story called? \u201cThe Green Ribbon.\u201d Do you know that ghost story? I think it\u2019s from the <i>Scary Stories to Tell in the Dark<\/i> books, but maybe it predates that. The story is that this woman tells her beloved, \u201cNever untie the lace around my neck,\u201d and [he\u2019s] so curious about it that one day he does remove the ribbon and her head falls off. So that [lyric] is a little nod to a favorite urban legend. Someone tells you not to take off their neck ribbon, you better not.<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<div class=\"content_block paragraph triple_gutter_right triple_gutter_left\">\n<div class=\"content_inner_wrapper\">\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<style>\n<\/style>\n<div id=\"content_block-252386\" class=\"content_block breaker triple_gutter_right triple_gutter_left video\">\n<div class=\"media_wrapper\">\n<div class=\"video_wrapper\">\n<div class=\"fluid-width-video-wrapper\" style=\"padding-top: 56.25%;\">\n<p>    <iframe loading=\"lazy\" title=\"Speedy Ortiz - Plus One\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/ixKKKea_nls?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p><\/div>\n<\/div>\n<p><script>\n \/\/trackYouTubeVideo('252386');\n<\/script><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252383\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p><b>On this new album, you worked with Sarah Tudzin of Illuminati Hotties as your engineer\/producer. What new sides did she bring out in your sound? How did she shift the creative process behind this record?<\/b><\/p>\n<p>            Sarah fulfills all kinds of roles on different projects. Going in on this together, she knew about me as a producer and a co-producer: I come in with a ton of stuff pretty much already decided. I try to come in with as drastically overstuffed a blueprint as I could possibly create at home because studio time is expensive, and if you don\u2019t know what you need to capture, it\u2019s a really easy way to get into a money pit that our band fund certainly could not have afforded after however many years of not touring. So even before we got into rehearsals as a four piece, I had made demos where I was like, \u201cThe drums should know vaguely this, the bass should be vaguely this. Here\u2019s all the guitar parts I can think to write.\u201d <\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            Sometimes Andy [Molholt] wrote different [guitar parts] to add to it. Sometimes he took over some that I wrote. I wrote a bunch of keyboard parts; similar deal. Sometimes Andy replayed those. Sometimes we mixed them in with what I already did. But the direction of the songs was pretty decided before Sarah came on board.<\/p>\n<p>            This is not to say that on other projects she works on she doesn\u2019t have more of a steering role. What makes her a great collaborator is she can do it all. She can just hit record and set up some mics, or she can get into the nitty gritty and craft different sounds. But because she already knows how I work, because we worked on the last Sad13 record together to some extent as well, the mission from the start was, \u201cHow do we record this as well as possible so that all of these details that are already composed into it can shine?\u201d <\/p>\n<p>            A lot of the places where her creativity could come through were, like, \u201cLet\u2019s set up these three different amps and let\u2019s have two different mics on each of them and let\u2019s figure out the blend between those.\u201d It was definitely more in the technical world. We have a ton of musical and other artistic tastes in common, so there\u2019s a pretty solid shared language there. We\u2019re often gonna suggest the same things to one another, which makes us a good creative team.<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            <b>Speaking of the Sad13 project, the last record you put out from that is more recent than the last Speedy Ortiz record. How has moving away from the band and devoting yourself to these solo projects come back to inform the full-band work you\u2019re doing as the front person of Speedy Ortiz?<\/b><\/p>\n<p>            The last record we had out for Speedy was in 2018. We toured on it pretty extensively, and then throughout 2019, while we were touring, I would book studio time in different cities where we were going. For instance, we\u2019d play a festival in San Francisco, I\u2019d fly out two days early and go work in a studio. That was how the last Sad13 record came together. It was built around Speedy touring and stealing time where I could. <\/p>\n<p>            Similar deal with the book I put out in the pandemic. It was written in the midst of Speedy touring and Sad13 touring and stealing time where I could to think of a different creative pursuit. I have, in the past, had a hard time tapping into creative mindset and energy while on tour. A lot of touring feels very rote. We\u2019re not staying in hotels \u2014 I\u2019m certainly not getting my own room \u2014  so there\u2019s not really space to sprawl out and try things and experiment, which is what I like to do when I\u2019m working on production or writing. I worked on these projects while Speedy was the priority. And then, in the pandemic, there was no full-band playing or touring. I mean, some people did, but that was not something we were up to. <\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            I was very excited to get to come back to a more collaborative working relationship and get to work with my bandmates. I got a lot better at production and mixing in the pandemic because I had to do a lot of these sort of solitary tasks. I got better because that was the only thing to focus on, so the pre-production was a lot more intensive. The sounds I was able to generate are more interesting than I knew how to make before. That was true of all my bandmates as well. They were also all sitting by themselves and getting better at different things or taking time away from an instrument and having that inform their approach when they returned. We all did our own thing for a few years, and it resulted in a really interesting collaboration when we were finally able to get in the practice space together.<\/p>\n<p>            <b>I totally see that come through on Rabbit Rabbit; it\u2019s such a hi-fi record. I think. There\u2019s so much detail and clarity with respect to the way that it\u2019s recorded.<\/b><\/p>\n<p>            This is something that Sarah was incredible for, as well as David Catching, who runs Rancho de la Luna. We\u2019d [go], \u201cHow does the bass sound on the demo? Okay, what pedals will accomplish that? What combination of amplifiers? Now we\u2019ve gotta pick an arsenal of mics to record all of it. And then what kind of blend?\u201d There was a lot of that kind of nitty-gritty decision making, and it was certainly one of the more intensive recording and mixing processes I\u2019ve been part of, but that\u2019s my favorite part of the whole thing. It was really intensive but fun.<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<p> #content_block-252384,  #content_block-252384 blockquote.pull_quote, #content_block-252384 .img_caption .caption {\n   color: #1f953a;\n }\n<\/style>\n<div id=\"content_block-252384\" class=\"content_block breaker triple_gutter_right triple_gutter_left pull_quote\">\n<div class=\"media_wrapper\">\n<blockquote class=\"pull_quote\"><p>\u201cWhen I\u2019m writing a poem, I\u2019m not writing to drums; I\u2019m not writing to bass; I\u2019m not writing to this synth part there. The poetry has to provide all of that infrastructure.\u201d<\/p><\/blockquote><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252385\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>            <b>You also mentioned the poems you were writing on your last tour, which I\u2019m assuming are what came together to form <i>Cry perfume<\/i>.<\/b><\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            Yeah, I wrote that between 2016 and 2020, so it was like a pretty long chunk of time. But because [on tour], you just take moments where you can to focus on something. You don\u2019t always have the energy to write poetry when you\u2019re driving eight hours a day and then playing a gig and not getting to the place you\u2019re sleeping till [3 a.m.].<\/p>\n<p>            <b>What do you find holds consistent between writing poetry and writing music? And what do you find is distinct between the two?<\/b><\/p>\n<p>            What feels different to me in my process [with poetry] is it contains its own music. When I\u2019m writing songs, I tend to do a tremendous amount of the arrangement and production before I\u2019ve done the lyrics. I might have melodic ideas; I might have some syllables that I know need to go in a certain place. But I don\u2019t tend to write a whole [song\u2019s worth] of lyrics and then build around that. I build all the [other] stuff, and the lyrics are the icing. When I\u2019m writing a poem, I\u2019m not writing to drums; I\u2019m not writing to bass; I\u2019m not writing to this synth part there. The poetry has to provide all of that infrastructure.<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            It feels like more of an improvisatory form, even when I\u2019ve spent quite a lot of hours editing it down and giving it that shape. It provides its own music. It provides its own visuals. It has all of these other senses cooked into a stanza or a page or even a few lines, so that\u2019s something I really value it for. Crafting poetry, to me, feels like a visual art as well as a musical art. And, of course, the literary art is part of it. You\u2019re relying on the poem to provide all this infrastructural stuff that you don\u2019t have to cook into lyrics as much. A lot of pressure, but it\u2019s fun.<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252382\" class=\"content_block breaker triple_gutter_right triple_gutter_left image\">\n<div class=\"media_wrapper\">\n<p>  <img decoding=\"async\" src=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_1440,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Shervin_Lainez_ehfwnq\/whos-afraid-of-speedy-ortiz.jpg\" srcset=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_220,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Shervin_Lainez_ehfwnq\/whos-afraid-of-speedy-ortiz.jpg 220w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_300,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Shervin_Lainez_ehfwnq\/whos-afraid-of-speedy-ortiz.jpg 300w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_400,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Shervin_Lainez_ehfwnq\/whos-afraid-of-speedy-ortiz.jpg 400w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_600,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Shervin_Lainez_ehfwnq\/whos-afraid-of-speedy-ortiz.jpg 600w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_750,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Shervin_Lainez_ehfwnq\/whos-afraid-of-speedy-ortiz.jpg 750w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_840,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Shervin_Lainez_ehfwnq\/whos-afraid-of-speedy-ortiz.jpg 840w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_960,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Shervin_Lainez_ehfwnq\/whos-afraid-of-speedy-ortiz.jpg 960w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1260,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Shervin_Lainez_ehfwnq\/whos-afraid-of-speedy-ortiz.jpg 1260w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1800,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Shervin_Lainez_ehfwnq\/whos-afraid-of-speedy-ortiz.jpg 1800w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_2400,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Shervin_Lainez_ehfwnq\/whos-afraid-of-speedy-ortiz.jpg 2400w,\" sizes=\"100vw\" alt=\"Who\u2019s afraid of Speedy Ortiz?\"><span class=\"img_caption\"><\/p>\n<p>  <span class=\"credit\"><\/p>\n<p>      Shervin Lainez<\/p>\n<p>  <\/span><\/p>\n<p><\/span><\/p><\/div>\n<\/div>\n<div class=\"content_block paragraph triple_gutter_right triple_gutter_left\">\n<div class=\"content_inner_wrapper\">\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<style>\n<p> #content_block-252388,  #content_block-252388 blockquote.pull_quote, #content_block-252388 .img_caption .caption {\n   color: #1f953a;\n }\n<\/style>\n<div id=\"content_block-252388\" class=\"content_block breaker triple_gutter_right triple_gutter_left pull_quote\">\n<div class=\"media_wrapper\">\n<blockquote class=\"pull_quote\"><p>\u201cI\u2019m not a god, and I\u2019m also not a girl.\u201d<\/p><\/blockquote><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252387\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>            <b>\u201cBallad of Y &amp; S\u201d sounds to me like it\u2019s about not only the process of creating art, but of putting it out into the world to be consumed as well. What were you trying to get across to listeners with that song?<\/b><\/p>\n<p>            I read this book, <i>Red Comet<\/i>, which is a very long biography of Sylvia Plath. It\u2019s 1,000 pages long, and I read it in December of 2021 when I was doing all the pre-production on this record and finishing up all the writing before I sent it to my bandmates to start rehearsal. And I read that Sylvia Plath had dated someone in college that Yoko Ono also dated in college. I love gossip, especially gossip from like half a century before I find it out. So I thought this was a really interesting juxtaposition of two artists that I don\u2019t really think of as in conversation with one another or really as from the same era, [even though] they very much are. <\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            I started to consider other similarities in their lives and careers. To different ends, of course, both have this very academic, fine art training and then go on to produce this very wild and vibrant and groundbreaking confessional art in different corners of art, but I think there was a similar impulse in their work. In Sylvia Plath\u2019s life and for many decades after it \u2014 and in John Lennon\u2019s life and for many decades after it \u2014 both Yoko Ono and Sylvia Plath\u2019s work was considered secondary to their male partner\u2019s work. <\/p>\n<p>            I started to think about a cultural shift that I witness now, where in a lot of confessional art produced by women \u2014 or, at least, produced by non men \u2014 there\u2019s this emphasis on the confessional aspect of it and less of an interest in the craft aspects or the formal aspects. There\u2019s this focus not only on confessional art but on the confessional explanation of the art. And it feels more commercially valued than it was in decades prior in a way that feels strange as someone engaged in an artistic practice. So that was my long-winded, nine-things-intersecting [way of] thinking about putting my trauma, my worst thoughts about myself, into pop songs and then asking for them to be licensed for podcasts or whatever. There\u2019s a strangeness to creating work in this late-capitalist environment.<\/p>\n<p>            <b>Do you consider your work confessional?<\/b><\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            Yeah. I think part of why I read these Sylvia Plath things that come out every few years [is that] she was one of my first poetic influences, and a lot of the poetry and songwriters I like work in that vein. That\u2019s not to say that\u2019s entirely what I\u2019m doing in my songs, and I certainly draw from fiction and from documentarian elements that have nothing to do with me. But I do feel [I\u2019m] in the vein of memoirists. <\/p>\n<p>            I look at someone like Annie Erneaux\u2026 Granted, she\u2019s a Nobel Prize winner and has had a many-decades career of extreme literary fame, but I feel like there\u2019s a real moment for [her] right now where everybody I know is reading 20 of her books at once. And [hers] is the most gutting, straightforwardly told confessionalism I can imagine. It\u2019s reportage about the writer\u2019s most painful thoughts, feelings, memories, experiences. So I do feel inspired by work like that and have frequently used my own life for material. But I also have to roll my eyes at the way that\u2019s having a moment in pop music.<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<div class=\"content_block paragraph triple_gutter_right triple_gutter_left\">\n<div class=\"content_inner_wrapper\">\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<style>\n<\/style>\n<div id=\"content_block-252430\" class=\"content_block breaker triple_gutter_right triple_gutter_left video\">\n<div class=\"media_wrapper\">\n<div class=\"video_wrapper\">\n<div class=\"fluid-width-video-wrapper\" style=\"padding-top: 56.25%;\">\n<p>    <iframe loading=\"lazy\" title=\"Speedy Ortiz: Tiny Desk Concert\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/v-nHyMFnSmI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p><\/div>\n<\/div>\n<p><script>\n \/\/trackYouTubeVideo('252430');\n<\/script><\/div>\n<\/div>\n<style>\n<p> #content_block-252390,  #content_block-252390 blockquote.pull_quote, #content_block-252390 .img_caption .caption {\n   color: #1f953a;\n }\n<\/style>\n<div id=\"content_block-252390\" class=\"content_block breaker triple_gutter_right triple_gutter_left pull_quote\">\n<div class=\"media_wrapper\">\n<blockquote class=\"pull_quote\"><p>\u201cI can tell you literally what a song is about, but the lyrics aren\u2019t a one-to-one portrayal of that.\u201d<\/p><\/blockquote><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252391\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>            <b>There\u2019s a difference between pop musicians being held to this extremely high standard of authenticity by their fan bases versus actually pulling from one\u2019s own life and using music as a vehicle to process things.<\/b><\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            I think that songwriting mode has been pretty de rigueur in indie rock for as many decades as I\u2019ve been alive. It\u2019s just there wasn\u2019t such a spotlighted focus on the Genius.com mythication of lyricism that has really brought a lot of the biographical material into the spotlight. <\/p>\n<p>            I\u2019ve been starting to run again, which has been an on-and-off thing for me since I was 15, 16. For like 20 years, I\u2019ve been running off and on, and sometimes when it\u2019s a slog of a run, I just want, like, comfort, stupid gym rock. So I listen to a lot of the toxic, weird, gross lyrics that I really liked when I was 15 and starting running. I was listening to one the other day that I\u2019m not going to name for the sake of my own embarrassment, but I was like, \u201cThese lyrics are so fucked. What does Genius.com have to say?\u201d And there\u2019s nothing. And yet you look at something that\u2019s a little more subtle and nuanced and contemporary, and the armchair analysis on Genius.com is like\u2026 I could buy the spark notes of it. So I do feel like there\u2019s been this turn to very literal lyrical analysis. <\/p>\n<p>            I can tell you literally what a song is about, but the lyrics aren\u2019t a one-to-one portrayal of that. And there\u2019s a strangeness to that expectation coming alongside releasing lyrics at all.<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            <b>I get the sense that the lyrics on <i>Rabbit Rabbit<\/i> feel, at many points, designed to resist that easy, one-to-one interpretation?<\/b><\/p>\n<p>            I think that\u2019s just my style at this point. I always was drawn to lyrics that I had to reread, that I had to look up words in and look at for the third time to understand how different parts of [them] intersected: \u201cOh, this line in verse one is playing with this part in the bridge two-and-a-half minutes later.\u201d I really like connecting those kinds of dots as a listener and as a reader, so I think that has been part of my writing style for so long. Even if there was a conscious effort to resist the typical verse-chorus structure, it\u2019s just cooked in at this point because I\u2019ve been writing since I was pretty little.<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<div class=\"content_block paragraph triple_gutter_right triple_gutter_left\">\n<div class=\"content_inner_wrapper\">\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<style>\n<\/style>\n<div id=\"content_block-252389\" class=\"content_block breaker triple_gutter_right triple_gutter_left image\">\n<div class=\"media_wrapper\">\n<p>  <img decoding=\"async\" src=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_1440,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit_Shervin_Lainez_1_1_votxom\/whos-afraid-of-speedy-ortiz.jpg\" srcset=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_220,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit_Shervin_Lainez_1_1_votxom\/whos-afraid-of-speedy-ortiz.jpg 220w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_300,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit_Shervin_Lainez_1_1_votxom\/whos-afraid-of-speedy-ortiz.jpg 300w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_400,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit_Shervin_Lainez_1_1_votxom\/whos-afraid-of-speedy-ortiz.jpg 400w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_600,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit_Shervin_Lainez_1_1_votxom\/whos-afraid-of-speedy-ortiz.jpg 600w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_750,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit_Shervin_Lainez_1_1_votxom\/whos-afraid-of-speedy-ortiz.jpg 750w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_840,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit_Shervin_Lainez_1_1_votxom\/whos-afraid-of-speedy-ortiz.jpg 840w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_960,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit_Shervin_Lainez_1_1_votxom\/whos-afraid-of-speedy-ortiz.jpg 960w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1260,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit_Shervin_Lainez_1_1_votxom\/whos-afraid-of-speedy-ortiz.jpg 1260w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1800,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit_Shervin_Lainez_1_1_votxom\/whos-afraid-of-speedy-ortiz.jpg 1800w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_2400,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_Credit_Shervin_Lainez_1_1_votxom\/whos-afraid-of-speedy-ortiz.jpg 2400w,\" sizes=\"100vw\" alt=\"Who\u2019s afraid of Speedy Ortiz?\"><span class=\"img_caption\"><\/p>\n<p>  <span class=\"credit\"><\/p>\n<p>      Shervin Lainez<\/p>\n<p>  <\/span><\/p>\n<p><\/span><\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252392\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>            <b>You\u2019ve talked about how the title of this album comes from a mantra you would repeat as a sign of good luck. But one thing I also noticed was the \u201cRanch vs. Ranch\u201d lyric where you sing, \u201cNo little bunny wears a rabbit-skin coat.\u201d I\u2019m guessing there has to be at least some dual meaning behind the title <i>Rabbit Rabbit<\/i> that goes beyond that one explanation.<\/b><\/p>\n<p>            That lyric predates us naming the record this. I think I wrote that song in late 2019, or at least that lyric. I have a ton of my voice memos full of [stuff I recorded when] I got out of the shower and sang one line into the phone four years ago. When it\u2019s time to write a record, I go through every single thing since the last time we made a record and write down the number and the BPM and the key signature of the lines or melodies that seem usable. <\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            I worked on the demo [of that song] when I was working on <i>Rabbit Rabbit<\/i>, which was not its title yet. It was my birthday, possibly. I\u2019m a big fan of the birthday song. When you\u2019re considering yourself getting one year older, it\u2019s a great place to reflect on the world and your place in it and how you\u2019re seeing things differently. It\u2019s a good State of the Union address as a songwriter. <\/p>\n<p>            \u201cRanch vs. Ranch\u201d was written about [something] similar to \u201cKim Cattrall.\u201d I turned 33, and I\u2019m making much better choices than I was when I was 23. And I\u2019m older and scarier, in a good way. I just watched this Netflix show <i>Brand New Cherry Flavor<\/i>, which is a \u201990s period piece [with] a lot of weird body horror. The soundtrack is all like \u201990s soundtrack stuff \u2014 like, The Folk Implosion is on it. <\/p>\n<p>            So I tried to write a song for a show like that about getting older and scarier. Anyway, all this said, I hated the song when we were working on it. I did not want to put it on the album. I was like, \u201cThe song that I like the least always becomes the most popular one. What if I circumvent that and we just skip this song altogether?\u201d My bandmates were like, \u201cNo, we like this one.\u201d <\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            I kept calling it, disparagingly, \u201cSpy vs. Spy\u201d because it just sounded like a spy soundtrack to me. And then when we were working at Rancho de la Luna and going to Sonic Ranch next, I think it was Andy who was like, \u201cWe should call it \u2018Ranch vs. Ranch\u2019 instead of \u2018Spy vs. Spy.\u2019\u201d <br \/>[\u201cSpy vs. Spy\u201d] wasn\u2019t the real title; it was me making fun of the song. I think once it had that context, I could like it again. <\/p>\n<p>            Anyway, the bunny wearing a rabbit fur coat is sort of\u2026 Not to return to John Lennon \u2014 this is the most times I\u2019ve ever said John Lennon in one day \u2014 I feel like I\u2019m doing some \u201cI Am the Walrus\u201d shit on this song. Like, \u201cWhat am I talking about? This is just goofy word substitutions and wordplay that was funny to me when I was writing it. Can this really sustain a song?\u201d<\/p>\n<p>            Andy, my bandmate who I just attributed that song title to, at some point asked me why I tweet \u201cRabbit Rabbit\u201d on the first of every month. I explained where that comes from, and that it\u2019s a good luck thing that people say when they first wake up on the first of every month, and [that] I\u2019ve been doing it since I was a little kid. And he was like, \u201cOh, we should call an album that sometime.\u201d What he didn\u2019t know is that when I started working on this album, it was the first of a month, and I opened up a Word doc and typed \u201cRabbit Rabbit\u201d up front. I was just making a joke in Google to myself. I was not seriously considering titling the album that, but then Andy said it and it all snapped into place.<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252395\" class=\"content_block breaker triple_gutter_right triple_gutter_left video\">\n<div class=\"media_wrapper\">\n<div class=\"video_wrapper\">\n<div class=\"fluid-width-video-wrapper\" style=\"padding-top: 56.25%;\">\n<p>    <iframe loading=\"lazy\" title=\"Deftones - Digital Bath (Official Music Video) | Warner Vault\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/9tmPBuSpmfA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p><\/div>\n<\/div>\n<p><script>\n \/\/trackYouTubeVideo('252395');\n<\/script><\/div>\n<\/div>\n<style>\n<p> #content_block-252396,  #content_block-252396 blockquote.pull_quote, #content_block-252396 .img_caption .caption {\n   color: #1f953a;\n }\n<\/style>\n<div id=\"content_block-252396\" class=\"content_block breaker triple_gutter_right triple_gutter_left pull_quote\">\n<div class=\"media_wrapper\">\n<blockquote class=\"pull_quote\"><p>\u201cWhat does it mean to be identified in someone else\u2019s mind as the subject of violence?\u201d<\/p><\/blockquote><\/div>\n<\/div>\n<div class=\"content_block paragraph triple_gutter_right triple_gutter_left\">\n<div class=\"content_inner_wrapper\">\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<style>\n<\/style>\n<div id=\"content_block-252394\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>            <b>It\u2019s so funny that you mention writing \u201cRanch vs. Ranch\u201d as a soundtrack song for a Netflix show set in the \u201990s, because the first time I heard it, I was like, \u201cThere\u2019s something almost nu metal about it, almost like a Deftones song. Never would I have thought, \u201cSpeedy Ortiz, nu metal.\u201d<\/b><\/p>\n<p>            There is a more direct Deftones homage on the album\u2026 \u201cWho\u2019s Afraid of the Bath.\u201d I wrote that one as an intentional musical homage and lyrical response or analysis\/critique of \u201cDigital Bath.\u201d I love Deftones. We all do. And I was trying to find\u2026 This is the terrible thing about media consolidation and the disappearing of our archive. I feel like I remember [a] really funny, goofy interview that we all did\u2026 11, 12 years ago\u2026 I want to say with Chart Attack that was all about nu metal. We were like, \u201cNu metal is cool. We never stopped listening. Here are all the things we like. Nu metal will come back.\u201d <\/p>\n<p>            Then, of course, like six years later, Rina Sawayama started doing nu metal. A lot of pop [artists] have now turned a positive eye toward nu metal, but we never stopped believing. We always loved nu metal. I hadn\u2019t felt that I knew how to interpret some of those sounds before, but I do now, and that\u2019s where \u201cWho\u2019s Afraid of the Bath\u201d came from.<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            <b>\u201cWho\u2019s Afraid of the Bath\u201d also reminded me of that \u201cnot like the other girls\u201d lyric back on \u201cKim Cattrall\u201d because it feels like an anti-manic pixie dream girl anthem.<\/b><\/p>\n<p>            I think of a song like \u201cDigital Bath\u201d \u2014 and I could think of, like, 30 songs that I feel similarly about, where I was blown away by this when I was younger and I still think it sounds amazing \u2014   and I look at the lyrics now and feel a little troubled by them. \u201cDigital Bath\u201d basically describes, in very poetic terms, someone randomly murdering a woman as a cool source of imagery. That\u2019s basically what it\u2019s doing.<\/p>\n<p>            I think about all these songs that I grew up on and grew up loving, and then I think about some difficult experiences I\u2019ve been through that other people I know have also been through. I\u2019ve experienced stalking and I\u2019ve experienced abuse in a relationship. You think about the way that songs like\u2026 It\u2019s not to say that there\u2019s any one-to-one correlation, and I certainly don\u2019t believe that showing violence in art is the causality that causes violence to occur. But what does it mean to be identified in someone else\u2019s mind as the subject of violence in the way that songs like this portrayed and reflected to us when we were younger? <\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            That\u2019s what I used [\u201cWho\u2019s Afraid of the Bath\u201d] to explore: the way that violent fantasies are projected onto women for the sake of art, and then there\u2019s a reflection of that in real life \u2014 in my life and in the lives of my friends. It doesn\u2019t come to any neat conclusion. I\u2019m really talking about my own experience, but I thought it could be helpful for me to reflect it through the sonic palette of something that had shown that kind of violence to me when I was younger.<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252393\" class=\"content_block breaker triple_gutter_right triple_gutter_left image\">\n<div class=\"media_wrapper\">\n<p>  <img decoding=\"async\" src=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_1440,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_13_Credit_Shervin_Lainez_jd5wyb\/whos-afraid-of-speedy-ortiz.jpg\" srcset=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_220,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_13_Credit_Shervin_Lainez_jd5wyb\/whos-afraid-of-speedy-ortiz.jpg 220w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_300,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_13_Credit_Shervin_Lainez_jd5wyb\/whos-afraid-of-speedy-ortiz.jpg 300w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_400,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_13_Credit_Shervin_Lainez_jd5wyb\/whos-afraid-of-speedy-ortiz.jpg 400w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_600,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_13_Credit_Shervin_Lainez_jd5wyb\/whos-afraid-of-speedy-ortiz.jpg 600w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_750,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_13_Credit_Shervin_Lainez_jd5wyb\/whos-afraid-of-speedy-ortiz.jpg 750w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_840,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_13_Credit_Shervin_Lainez_jd5wyb\/whos-afraid-of-speedy-ortiz.jpg 840w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_960,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_13_Credit_Shervin_Lainez_jd5wyb\/whos-afraid-of-speedy-ortiz.jpg 960w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1260,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_13_Credit_Shervin_Lainez_jd5wyb\/whos-afraid-of-speedy-ortiz.jpg 1260w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1800,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_13_Credit_Shervin_Lainez_jd5wyb\/whos-afraid-of-speedy-ortiz.jpg 1800w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_2400,c_limit,f_auto,q_auto:best\/Speedy_Ortiz_13_Credit_Shervin_Lainez_jd5wyb\/whos-afraid-of-speedy-ortiz.jpg 2400w,\" sizes=\"100vw\" alt=\"Who\u2019s afraid of Speedy Ortiz?\"><span class=\"img_caption\"><\/p>\n<p>  <span class=\"credit\"><\/p>\n<p>      Shervin Lainez<\/p>\n<p>  <\/span><\/p>\n<p><\/span><\/p><\/div>\n<\/div>\n<div class=\"content_block paragraph triple_gutter_right triple_gutter_left\">\n<div class=\"content_inner_wrapper\">\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<style>\n<p> #content_block-252397,  #content_block-252397 blockquote.pull_quote, #content_block-252397 .img_caption .caption {\n   color: #1f953a;\n }\n<\/style>\n<div id=\"content_block-252397\" class=\"content_block breaker triple_gutter_right triple_gutter_left pull_quote\">\n<div class=\"media_wrapper\">\n<blockquote class=\"pull_quote\"><p>\u201cYou can\u2019t be angry 24 hours a day. You could pick 23 and then take a bubble bath.\u201d<\/p><\/blockquote><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252398\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>            <b>Are there other new musical reference points that you and the band were drawing from when you were making <i>Rabbit Rabbit<\/i>? Things that were on your radar that maybe weren\u2019t on previous Speedy Ortiz releases?<\/b><\/p>\n<p>            Something about this record is that I very intentionally tried to keep newer sounds out of it, in part because I was exploring my relationship to music and why I started to write songs and why I was drawn to playing in bands. Also, I was writing this during the pandemic, and I think a lot of us were doing comfort listening, going back to things we grew up with or were very familiar with. Not to say I haven\u2019t listened to a ton of new records \u2014 I do every week \u2014 but I tried to keep that out of this record. <\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            I was specifically looking at stuff from, like, 2001\u20132004 \u2014 the stuff I was inspired by when I was first playing guitar and playing in bands. I thought it would be interesting to enter songwriting through a place of homage to the stuff that first inspired me. Since I was trying to explore what drew me to music in the first place, it felt appropriate to do that in the style of some of the things that drew me in. I was going back and listening to a lot of Mars Volta and Trail of Dead and Deftones, as we mentioned; Queens of the Stone Age, which is part of why we wound up at Rancho de la Luna; Rylo Kylie, Cursive, some of the Saddle Creek bands \u2014 the stuff I was really excited by when I first started writing songs.<\/p>\n<p>            <b>I was feeling a lot of the Rylo Kylie, Saddle Creek end of the spectrum on the run of gentler songs toward the end of the album, which is actually like my favorite part of the record \u2014 the \u201cEmergency &amp; Me, \u201cThe Sunday,\u201d \u201cBrace Thee\u201d period. Was structuring the record to have these peaks and valleys a conscious decision on your part?<\/b><\/p>\n<p>            We go pretty deep into the sequencing and print a million different versions of it to see what flows the best. This is one of the first times we\u2019ve had to change the sequence because of the restrictions of what can be stored on LP. We switched \u201cKitty\u201d and \u201cWho\u2019s Afraid of the Bath\u201d because we knew we wanted side B to open with \u201cWho\u2019s Afraid of the Bath\u201d and there was like a 30-second disparity in length, so we had to push \u201cKitty\u201d to the end of Side A. <\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            If I show you my notebook, I have written out every single key signature \u2014 often the verse is in a different key than the chorus or there will be tempo changes, but I wrote down every single one that occurred, and if there were too many things in a certain key, I\u2019d transpose it. There\u2019s a lot of really finicky decision making going on, even from day one of pre-production. I\u2019ll tally how many verses are in B or G or G sharp and how many choruses. And if there are too many, I move it around. I will put it out there: If you do things like this, see if you have OCD, because I do. That might be your first tell. <\/p>\n<p>            I like to explore all options, and we tried a lot of different sequences. What\u2019s fun about the two kind of quiet-sounding [tracks] going into one another\u2026 \u201cThe Sunday\u201d is about my relationship to music and why I started playing, and also questioning my motivations for playing. Both songs, really: Why do I seek the validation that playing music brings me. What we all really like about \u201cBrace Thee\u201d is it\u2019s slow, very intentionally so, as like an aggressive affront. So even though it\u2019s starting with this kind of arpeggiated, acoustic, digitally glitching thing, it\u2019s so aggressively slow that when it does build to the louder parts, it provides a lot of opportunity for emotional expansion and heaviness. We had a lot of fun filling that one out like a jump scare of a song: You think it\u2019ll be a second acoustic one in a row, and then it has the heaviest riff and drums on the record.<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<div class=\"content_block paragraph triple_gutter_right triple_gutter_left\">\n<div class=\"content_inner_wrapper\">\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<style>\n<\/style>\n<div id=\"content_block-252399\" class=\"content_block breaker triple_gutter_right triple_gutter_left video\">\n<div class=\"media_wrapper\">\n<div class=\"video_wrapper\">\n<div class=\"fluid-width-video-wrapper\" style=\"padding-top: 56.25%;\">\n<p>    <iframe loading=\"lazy\" title=\"Speedy Ortiz - Ghostwriter\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/V4L5vn4rzog?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p><\/div>\n<\/div>\n<p><script>\n \/\/trackYouTubeVideo('252399');\n<\/script><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-252400\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>            <b>Then, of course, it goes into Ghostwriter, which is so uptempo it sounds like some lost shoegaze pop like crossover hit from the 90s.<\/b><\/p>\n<p>            That one cracks me up. It\u2019s one of the last ones I wrote for the album. My partner is in the band Cloud Nothings, and I think despite some forward-facing similarities, everything about our writing processes and considerations around songwriting is very, very different. When I wrote that song, I was, \u201cHaha, this kind of sounds like one of your songs.\u201d <\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            I feel like a lot of Dylan\u2019s lyrics [have] an optimism to them. Even when he\u2019s screaming or it\u2019s really heavy, there\u2019s frequently this optimistic outlook that things can change or get better, especially in his later songs. That\u2019s frequently not my songwriting mode. My mode is like, \u201cHow the fuck am I still alive? Why do I think and do these horrible things to myself?\u201d There\u2019s a darkness and a rage to my lyricism. And yet this song is about me grappling with that darkness and rage and trying to move past it for the sake of productive change to the world. It feels more optimistic than a lot of other Speedy stuff. <\/p>\n<p>            My joke to myself in calling Ghostwriter is, again, we look at musicians whose artistic output was sort of overshadowed by their more popular male partners. Look at the whole records where people are like, Billy Corgan ghostwrote that whole record, or Kurt Cobain ghostwrote that whole record. I\u2019m like, \u201cThis is like the song that Cloud Nothings ghostwrote for Speedy.<\/p>\n<p>            <b>There\u2019s a statement in choosing to end the album on the most optimistic note, even if it is a bit out of character for you.<\/b><\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            That\u2019s right: making better choices as we get older. You can\u2019t be angry 24 hours a day. You could pick 23 and then take a bubble bath. I\u2019m reading the China Mi\u00e9ville book called <i>A Spectre, Haunting<\/i> that\u2019s like a recontextualization of the Communist Manifesto. It ends with this great thing about how hate and love are so connected, and that to make any kind of lasting change and to be in struggle for a better world out of love is driven frequently by hate. Movements that result in good things, out of love for community, are frequently powered by hate. That made me feel a little bit better about my sentiment in \u201cGhostwriter.\u201d I\u2019m like, \u201cYeah, I can be angry. I do it all for love.\u201d<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/div>\n<p><\/p>\n<div class=\"author\">\n    <span><br \/>\n      By <span class=\"credit_name\">Walden Green<\/span><br \/>\n  <\/span><\/div>\n<p><script async src=\"https:\/\/platform.twitter.com\/widgets.js\" charset=\"utf-8\"><\/script><script async defer src=\"https:\/\/platform.instagram.com\/en_US\/embeds.js\"><\/script><\/p>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/social-media\/\" target=\"_blank\" rel=\"noopener\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/www.thefader.com\/2023\/08\/31\/whos-afraid-of-speedy-ortiz\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Who\u2019s afraid of Speedy Ortiz? Sadie Dupuis discusses everything that went into the making of her band\u2019s new album, Rabbit Rabbit, on The FADER Interview. By Walden Green Speedy Ortiz. Photo by Shervin Lainez. \u00a0 When Kim Cattrall made her long-awaited return as Samantha Jones last week to the Sex and the City spinoff And&#8230;<\/p>\n","protected":false},"author":1,"featured_media":589292,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/thefader-res.cloudinary.com\/private_images\/c_limit,w_1024\/c_crop,h_533,w_1024,x_0,y_141,f_auto,q_auto:eco\/35c4419c9f824f36c2fdea9329aea569rqEofWTPRpbZgFHY-1_kvg1nu\/35c4419c9f824f36c2fdea9329aea569rqEofWTPRpbZgFHY-1_kvg1nu.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[75360,87510,72756,145435,105545],"class_list":["post-589291","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-podcast","tag-rock","tag-sad13","tag-speedy-ortiz","tag-the-fader-interview"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/589291","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=589291"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/589291\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/589292"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=589291"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=589291"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=589291"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}