Speedy Ortiz

w/ Space Moth & Jo Passed



“Rabbit rabbit” is a superstitious incantation repeated on the first of each month to bring good fortune—a belief practiced by Sadie Dupuis, the guitarist, singer and songwriter of the Philadelphia rock quartet Speedy Ortiz. As a child with OCD, she followed arbitrary rituals, a coping mechanism commonly triggered by early trauma, and “rabbit rabbit” was one that stuck. When Dupuis began to parse difficult memories for the first time in her songwriting, it felt like kismet to name her band’s resultant fourth record after an expression of luck and repetition: Rabbit Rabbit. Instead of re-treading old routines, the record finds Speedy Ortiz interrogating conventions, grappling with cycles of violence and destructive power dynamics with singular wit and riffs. Rabbit Rabbit finds Speedy Ortiz at its most potent: melodically fierce, sonically mountainous, scorching the earth and beginning anew.

In her past few years of work as a writer and interviewer, Dupuis recognized a recurring thread among artists with parallel backstories to her own: music had provided escapism from childhood abuse, but those same turbulent circumstances had normalized the grimmest aspects of the music industry. These were flashbacks she’d shied from, and constant touring enabled that avoidance. But Rabbit Rabbit pulls no punches, either in its self-reflections or its call outs. With a Touch and Go-indebted maelstrom of distorted solos, lead single “You S02” trains its gaze on apologists, union-busters, and other ex-punks who don’t live up to their public ethos. Sing-song verses explode into a candy-tipped arrow of a chorus on the danceably off-kilter “Scabs,” a critique of those who cross picket lines. Jagged-cliff-dwelling riffs and thundering drums punctuate the kiss-off waltz of “Plus One,” while dry-lightning guitars and skewed bass groove turn “Ranch vs. Ranch” (a nod to Rabbit Rabbit’s two studios) into a vivid origin story for a horror movie hero. The darkly hued “Cry Cry Cry,” written about Dupuis’ inability to feel safe with tears, is a classically-composed tumble of contrapuntal riffs and electroclash timbres.

The record’s cover is Dupuis’ mixed-media painting of a fire-engulfed pickup truck, an image inspired by the trucks on fire she drew compulsively as a kid in therapy. Drawing from literary influences that include workplace apocalypses, magical realist family dramas, and artists’ biographies, Rabbit Rabbit is Speedy Ortiz’s most ambitious and expansive record to date. “I turned 33 while writing this album, a palindrome birthday and a lucky number associated with knowledge,” explains Dupuis. “I wanted to mark how I was making better choices as I got older, letting go of heedless anger even when it’s warranted.” The album’s stirring immediacy owes much to the band’s strength as a collective, working together toward a better future—or, as Molholt puts it, “constantly surfing the highs and lows in search of a stable place to land.” With considered muscularity, captivating earworms, and genuine solidarity, Speedy Ortiz is equipped to confront the world’s indignities—with or without a good luck charm.

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