Speedy Ortiz, hailing from Northampton, Massachusetts, is a crossover between classic grunge and retro ‘90s indie rock with an expertly executed throwback sound. Don’t be fooled—this band started in 2012. The quartet revitalizes the classic combination of a gutsy female vocalist and lo-fi power chords layered over snare-heavy drums.
Lead singer Sadie Dupuis evokes the formidable sound of Karen O of the Yeah Yeah Yeahs or Monique Powell with moxie (remember Save Ferris?). Their lyrics are both sharp and subtle and help to lighten their sound and attitude. They give an impression of genuine alt-rock—the kind of band you’d see at a small club in Brooklyn—or maybe your older brother’s best friend’s garage.
“Real Hair” is Speedy Ortiz’s third studio release, following their 2012 EP “Sports” and full-length 2013 album “Major Arcana.” The latter made Pitchfork’s Best New Music list and was generally well received, establishing Speedy’s unique sound.
“Real Hair” is refreshingly different from the overdone indie-pop genre that’s taken over the modern music scene. They are the real deal, showing a genuine dedication to cohesive sound and creativity. The EP stays true to Speedy’s character and isn’t seeking a chart topper, but may merit one regardless.
The drums are occasionally noisy and overbearing, and the guitar harmonies are layered and fuzzy—hence the ‘90s garage-rock sound—but these nevertheless strike a balance somewhere between calculated and laid-back. The bottom line is that they’re cool, fun to listen to and a little brooding.
Speedy’s sound is by no means formulaic or adherent to the ‘90s influence. ‘American Horror’ is anthem-y and romantic in the chorus (“Trust me just to my own feet/And keep me up for a whole week/Baby you feel so crazy/You keep me up for a whole week”) yet maintains a witty storytelling style in the verses. The second track, ‘Oxygal,’ is truly innovative. Compositionally, it is the most interesting on the album, achieving a harmonic split that, were it not so perfectly executed by Dupuis, might sound discordant. Her vocals are backed up by simple, stripped-down guitar and a thrumming base line.
Dupuis’s talent as a lyricist shines through in ‘Everything’s Bigger,’ with lines that leave you unsure of the exact meaning but keep you intrigued and listening closely for the rest (“I’m just like my wife/She’s a blade and I’m a dull knife/ Turned up in a bouquet”). She probes deep questions about identity and relationships with impressive levity: “It’s hard to keep a dialect/When you keep changing where you come from,” demonstrating both relatability and depth.
‘Shine Theory’ finishes off the four-song EP strongly, combining the best elements of the band into one: unique, unedited vocals, garage guitar and fantastic writing. Speedy would benefit from more polished and finely tuned sound mixing and editing, but “Real Hair” promises an (hopefully) excellent forthcoming sophomore album.
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