Twerp Verse is the third album by Massachusetts indie-rockers, Speedy Ortiz. The band are fronted by ex-Teacher, songwriter and gnarly guitarist, Sadie Dupuis. They have been gaining a solid following over their seven years for their modern take on ‘90s american indie having toured with Thurston Moore, The Breeders and Stephen Malkmus and The Jicks. Available as pink with rainbow splatter vinyl LP, which also includes a bonus 7” and lyric insert, standard black vinyl LP with lyric insert, CD and Cassette.
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It’s really quite nice that Sting and Shaggy are friends isn’t it? Just real nice. Also Speedy Ortiz have a new record out, but I can’t think of a charming lede to describe it by. Sadie Dupuis’ band are indie rock’s most consistently excellent, and you probably know that, having listened to the pissy ‘Major Arcana’ and the facsimile follow-up ‘Foil Deer’. It’s not that either record makes the other redundant, more just that, you know, they’re real good at the one thing they do, taking jangle pop as if it were a football some kids were using and spiking it so it can’t inflate again. Get in on their misery guts optimism again, ‘cos ‘Twerp Verse’ is well and truly here.
Dupuis has taken some time off to make her lovely young adult pop record ‘Slugger’, but she returns to the cantankerous guitar jams here, offering another record that makes a mess out of meticulousness. Ortiz can play, but they tumble their way out of opener “Buck Me Off”, gleefully falling their song down the stairs. “Lean In When I Suffer” and “Lucky 88” are example of the band’s ability to make concise songs with weird trinkets of sound going on behind, the odd little electronic additives and overlapping vocals making the latter sound off as one of their most addictive songs ever. “Backslidin’” has a signature Dupuis vocal/guitar pairup melody ushering it out of its choruses, but there’s something to be said for the newfound noisescapes she and her band are colouring their old tricks with: they sounded like this on their last two records, but never this full. It’s like they’ve replaced skate parks with whirlwinds.
With a band like this it’s always hard to rec one record over the other, or tell you one’s better than the other; their sound is a project of ongoing refinement and literary upgrade, with Dupuis’ lyrics further expanding on her social politics. Still, here the hooks feel better by virtue of the gravity behind them: they’re lifted off the ground and you can hear it. On “Sport Death”, you don’t just hear the riffs and the fills -- you hear the space that lives below. It's the same seriously good stuff, done dense.
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