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And while Dupuis wrote these songs, the band's convulsing arrangements and diverse influences sprawled the squigglier edges of feedbacked fuzz to mete out matters of the heart. Falcone — who, it's worth noting, has a knack for vocal harmony — swung as much as he smashed the drums. In easily tipoverable songs, Ferm's burly bass and percussive overdubs gave the unruly glee its momentum. Robidoux ripped skronky guitar solos and countered Dupuis' riffs with decorative splatter. 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Since then, Speedy has produced an expansive and critically revered discography, toured worldwide, and inspired next generations of bands with inventive songwriting and advocacy to better the music industry. But in 2011, the younger Dupuis was struggling through concurrent traumas: heartbreak from first love, leaving her hometown of New York for Massachusetts, and the grief of losing several young friends. Speedy’s first songs glowed within the contrast of noisiness and intimacy, raw sonic elements that came with closely processing vulnerabilities and Dupuis’ insistence on performing and recording each instrument alone. As the new project fielded show offers from favorite show spaces like Death By Audio and Shea Stadium, these early tracks became the springboard for the playfully melodic and cleverly distorted style for which Speedy Ortiz as a full band is celebrated. Now, ten years later, Speedy’s first self-released collections will be widely available for the first time and reissued as a double LP \u003ci\u003eThe Death of Speedy Ortiz and Cop Kicker...Forever,\u003c\/i\u003e alongside previously unreleased tracks, reflective liner notes penned by Dupuis, and unearthed photos and journal scans from that era.\u003c\/p\u003e\u003cp\u003eThe tracks on\u003ci\u003e The Death of Speedy Ortiz and Cop Kicker...Forever \u003c\/i\u003ewere written after student-created prompts while Dupuis was teaching a songwriting class at the same summer camp where she’d first learned guitar. \"Hexxy Sadie” was written in an hour, like the rest of the songs, and on Dupuis’ twenty-third birthday; using explosive riffs and distorted harmonies, she explores her uncertain yearning as a twinless twin. \"Frankenweenie\" came from the prompt “dog,” and over brooding piano, spry tambourine, and eruptive snare, Dupuis sings from the perspective of a dead childhood pet about forgiveness. “Cutco,” which navigates tricky chord changes with deft guitar passages and ironic deadpan, grins at the bitterness of friendships gone awry. 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Co-mixer Justin Pizzoferrato (Dinosaur Jr., Sebadoh), who worked with Speedy on Sports EP, Major Arcana, and Real Hair, further clarified the mix with analog compressors, and mastering engineer Emily Lazar (Liz Phair, HAIM) added a glossy sheen to the stratified bombast.\u003c\/p\u003e\u003cp\u003eAs Dupuis’ cult-beloved early material finally re-enters the world in a substantive way, \u003ci\u003eThe Death of Speedy Ortiz and Cop Kicker...Forever\u003c\/i\u003e is a seamless fit to the Speedy Ortiz discography that succeeded it, and evidence that Speedy’s biting lyrics, intricate compositions, and daring performances have been inherent to the project since its outset.\u003c\/p\u003e","brand":"Carpark","offers":[{"title":"Red | LP","offer_id":50452662321483,"sku":"1138031","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2361a838-b19d-4bad-8548-7f1dbe9fcc73_thumbnail_4096.jpg?v=1727159930"},{"product_id":"anything-in-return-10th-anniversary","title":"Anything In Return (10th Anniversary)","description":"\u003cp\u003eSince his first offerings began making the Internet rounds in 2009, \u003cstrong\u003eToro y Moi\u003c\/strong\u003e has proven himself to be not just a prolific musician, but a diverse one as well, letting each successive release broaden the scope of his oeuvre. 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The twinned intimacy and intricacy of those two influences is reflected in the carefully adventurous arrangements on \u003ci\u003eWoodpecker, \u003c\/i\u003ewhich features, among other contributors, bass from close collaborator Ko Takasugi-Czernowin, cello from Zuzia Weyman, drums from Madel Rafter, and guitar from Miller’s father Mark—who also wrote the song “Peace with the Damage” and originally released it with his band Spuyten Duyvil in 2011. \u003c\/p\u003e\u003cp\u003eMany of the songs on \u003ci\u003eWoodpecker \u003c\/i\u003ewere written during periods of grief or change. “I used to sing myself to sleep as a baby and I think music still plays the same role in my life—it’s a way of self-soothing or seeking comfort,” explains Miller. “But there’s also part of it that comes from wanting to connect with people.\" Recorded and mixed primarily by Heather Jones at So Big Auditory in Philly with overdubs by Miller at home, \u003ci\u003eWoodpecker \u003c\/i\u003eis an exercise in portraying the incommunicable. “Cup”—about a relational psychology test called “a walk in the woods” that turns encounters with symbols into meaning—uses watery arpeggios, wintry strings, and roving bass to create a liminal sonic space, optimistic but tense. “Cowboy,” with airy layers of acoustic guitar riffs and Miller’s charmingly double tracked voice, takes its little fish, big pond inspiration from the character Joe Buck in \u003ci\u003eMidnight Cowboy\u003c\/i\u003e. 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Falcone's drums are taut, mechanistic; Ferm's bass ranges from the aggressive rattle of an AmRep classic to smoother, hip-hop inspired lines. McKnight, meanwhile, lends spacier, textural riffs to complement Dupuis' wiry, melody-driven guitar style.\u003c\/p\u003e\n\n\u003cp\u003e\"The demos for our songs have always had tons of small details and production experimentation, but we never had any money to pay for more than a couple days in the studio, so the songs came out very live-sounding and guitar heavy,\" Dupuis says. It was recorded and mixed at Brooklyn's Rare Book Room with Nicolas Vernhes (Silver Jews, Enon, Deerhunter), with the record mastered by Emily Lazar (Sia, Haim, Beauty Pill), lending a more polished sound and a pop sensibility that will stand out to existing fans and new converts alike.\u003c\/p\u003e\n\n\u003cp\u003eFor all the lyrical complexity and guitar-based excursions \u003cstrong\u003eSpeedy Ortiz\u003c\/strong\u003e have built their reputation on to this point, \u003cem\u003eFoil Deer\u003c\/em\u003e has a sense of light-footed fun. What's the point of doing things yourself if you're not going to enjoy the trip?\u003c\/p\u003e\n\n\u003cp\u003eLP - Standard LP is gatefold, single black LP with chapbook, plus digital download card. LP+ - Deluxe LP Is as above but with metallic gold colored vinyl, and sticker. 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Baldi soon released a string of 7”s, a split cassette, and an EP before putting out Turning On - a compilation spanning about a year’s worth of work—on Carpark in 2010. January 2011 saw the release of Cloud Nothings’ self- titled debut LP, which, put next to \u003ci\u003eTurning On\u003c\/i\u003e, found Baldi cleaning up his lo-fi aesthetic, pairing his tales of affinitive confusion with a more pristine aural clarity. In the interval since the release of Cloud Nothings, Baldi has toured widely and put a great deal of focus on his live show, a detail that heavily shapes the music of his follow-up album, \u003ci\u003eAttack on Memory\u003c\/i\u003e. \u003c\/p\u003e\u003cp\u003eAfter playing the same sets nightly for months on end, Baldi saw the rigidity of his early work, and he wanted to create arrangements that would allow for more improvisation and variability when played on the road. To accomplish this desired malleability, the entire band decamped to Chicago—where the album was recorded with Steve Albini—and all lent a hand in the songwriting process. The product of these sessions is a record boasting features that, even at a glance, mark a sea change in the band’s sound: higher fidelity, a track clocking in at almost nine minutes, an instrumental, and an overall more plaintive air. The songs move along fluidly, and Baldi sounds assured as he brings his vocals up in the mix, allowing himself to hold out long notes and put some grain into his voice. Minor key melodies abound, drums emphatically contribute much more than mere timekeeping, and the guitar work is much more adventurous than that of previous releases. \u003c\/p\u003e\u003cp\u003eFor all of early Cloud Nothings’ fun and fervor, Baldi admits that it never sounded like most of the music he listens to. 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For his Carpark Records debut in August 2014, Skylar Spence took a step away from the more genre-shuffling styles of his Internet releases to focus his skills on high-power pop. The title track of the “Fiona Coyne” 7-inch is an uplifting tribute to fantastical romance and the joyous dreams pop culture can provide.\u003c\/p\u003e\u003cp\u003eMastermind Ryan DeRobertis lays down a funky guitar riff and bass line of Chic-quality to tease our senses before tickling us silly with the chorus’ ecstatic horns. “My love’s on the silver screen\/ she’s always playing make believe,” sings the then 21-year-old songwriter, playing a bit of make-believe himself. The song, named after a certain graduate of Degrassi Community School, acts out the fantasy of dating a TV star and plays with the idea that music can be something of a catalyst for romance.\u003c\/p\u003e\u003cp\u003eThe b-side, “Fall Harder,” is a lovelorn hit about a somewhat unattainable beauty. “You’ve got me under your spell\/ and baby, I couldn’t fall harder,” DeRobertis sings over an Orange Juice-worthy riff and electronic subtleties like the sound of a Galaga battle.\u003c\/p\u003e\u003cp\u003eFor this 7-inch, DeRobertis wrote danceable love songs with a nostalgic aesthetic to the production “because I think nostalgia is inherently narcissistic and I’m currently very into the idea of exploring the connection between nostalgia and narcissism,” he says.\u003c\/p\u003e\u003cp\u003eThese two singles would later appear on his debut album, Prom King, which was met with widespread critical acclaim. 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In a way not previously captured, this album expertly combines the group’s pummeling, aggressive approach with singer-songwriter Dylan Baldi’s extraordinary talent for perfect pop. To document this newly realized maturity, the group returned to producer Steve Albini and his Electrical Audio studios in Chicago, where the band famously destroyed its initial reputation as a bedroom solo project with the release of 2012 album \u003ci\u003eAttack on Memory\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eAnother throwback was Baldi’s return to constant songwriting à la the early solo days, which led to the nearly 30 demos that became the 11 songs on The \u003ci\u003eShadow I Remember\u003c\/i\u003e. Instead of sticking to a tried-but-true formula, his songwriting stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. 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Created mostly with two vintage synths, a single Roland CR5000 drum machine, and a busted karaoke machine, it channels Midwestern emo, the Beach Boys’ Smile, subtle nods at hyper-pop production, and forgotten jewel-box era college radio of the early aughts into a pure pop sound that transcends easy categorization.\u003c\/p\u003e\u003cp\u003eThe album’s standout single—and its statement of purpose—is “Hellscape,” which packs more into a minute and 40 seconds than you’d think possible: multiple immediately-unforgettable hooks, kaleidoscopic keyboards, and a bracing reminder that even the most transcendent moments are rooted in a world full of suffering. “This is a fucking hellscape,” Jimmy sings. “This is real life \/ this is happening.”\u003c\/p\u003e\u003cp\u003eThat may sound like punk nihilism, but \u003ci\u003eThe Search for God \u003c\/i\u003eis anything but. 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Bearing the torch of classic American songwriters that have inspired him like Harry Nilsson, Carole King, and Randy Newman, May has gingerly cultivated his iPhone note scribbles and subconscious melodies into songs that could stand the test of time.\u003c\/p\u003e\n\n\u003cp\u003eLeaving the comfort of home-recording, May set out to elevate the production quality on \u003cem\u003eLate Checkout\u003c\/em\u003e while maintaining some intimacy through sparse arrangements. After writing and performing parts for a bulk of the instruments on the album, May filled out his orchestrations by inviting string players, a horn section, background vocalists, and a pair of auxiliary drummers to play on the album.\u003c\/p\u003e\n\n\u003cp\u003eContrary to the instant gratification permitted by modern home-recording, May made a conscious decision to slow down and pay careful attention to his songwriting on this album. He began to savor the minutiae of his daily life spent wandering around LA, not getting invited to hang with friends, and waking up in hotel rooms after DJing weddings. May drew on these moments in his lyrics and began assembling ballads at his new studio, mimicking the bittersweet tone and consistent work ethic of Motown.\u003c\/p\u003e\n\n\u003cp\u003eMay reveals about the album’s opener \u003cem\u003eHotel Stationary\u003c\/em\u003e, \"I’ve been collecting stationery from almost every hotel I’ve stayed at for the past ten years. I’ve always been drawn to the nature of hotels. 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Over one winter, Baldi produced an album of taut, lo-fi guitar-pop songs, playing each instrument himself. His music gained traction in the increasingly popular music blog circuit, allowing Baldi to book his first shows in new places, like New York City. He gathered a band together to play live, and Cloud Nothings were on their way. The band has accomplished a great deal since Turning On, signing to Carpark Records, releasing seven albums, and headlining numerous international tours. Yet, their debut isn’t dusted over in the band’s history. Turning On still remains the stripped-back core of Cloud Nothings style: raw and grungy, filled with catchy earworms that are surprisingly pop. The album carries all the stored potential of someone ready to venture off into the world, a feeling that bursts with energy even 10 years later.\u003c\/p\u003e\u003cp\u003eAll the tracks on \u003ci\u003eTurning On\u003c\/i\u003e are eruptive and restless, its lo-fi quality embodying the desperate need to record an idea by any means necessary. Songs like \u003ci\u003eHey Cool Kid \u003c\/i\u003eencapsulate Baldi’s talent for churning, hook-filled guitar. The vocals on songs like \u003ci\u003eCan’t Stay Awake\u003c\/i\u003e are distorted, with scattered lyrics that echo the angst of a teenage diary. 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Consider Exotica, the new album from Houston iconoclast, Fat Tony, the latest brilliant entry in that fabled tradition, what Outkast once described as “shooting game in the form of story rapping.”\u003c\/p\u003e\u003cp\u003eWhile hip-hop supplies the foundation of the Third Ward native’s assault on genre, his futuristic soundclash encompasses seductive velour soul, lecherous French chansons, fluorescent new wave, and even splashes of African pop and reggae; the latter two being the residual effect of Tony’s Nigerian heritage and a sojourn to Jamaica to record the Carpark Records-released album with engineer, Abijah Livingston, son of Bunny Wailer.\u003c\/p\u003e\u003cp\u003e“This album is an ode to the art of storytelling through music,” the polymath born Anthony Lawson Jude Ifeanyichukwu Obiawunaotu says, distilling Exotica’s essence. “Picture records like The Great Adventures of Slick Rick. Artists like Neil Young, Bob Dylan, or Bob Marley. 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