2019Speedy Ortiz w/ OHMME
MarchDoors 8:30, Show 9:30 - $13adv/ $15
“You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world,” says Dupuis. “I call it a ‘twerp verse’ when a musician guests on a track and says something totally outlandish - like a Lil Wayne verse - but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth.”
Twerp Verse was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck). The record pulls from the most elastic pop moments in Squeeze’s Argybargy and the seesawing synth-rock of Deerhoof and the Rentals. With Dupuis on guitars, vocals, and synths, supporting guitarist Andy Molholt (of psych pop outfit Laser Background) now joins Speedy veterans Darl Ferm on bass and Mike Falcone on drums - and together they accelerate the band’s idiosyncrasy through the wilderness of Dupuis’ heady reflections on sex, lies and audiotape.
Dupuis, who both earned an MFA in poetry and taught at UMass Amherst, propels the band’s brain-teasing melodies with her serpentine wit. Inspired by the cutting observations of Eve Babitz, Aline Crumb’s biting memoirs, and the acute humor of AstroPoet Dorothea Lasky, Dupuis craftily navigates the danger zone that is building intimacy and political allyship in 2018. Now as public pushback against the old guards reaches a fever pitch - in the White House, Hollywood and beyond - the band fires shots in disillusioned Gen Y theme “Lucky 88,” and casts a side-eye towards suitors-turned-monsters in the cold-blooded single “Villain.” Closing track “You Hate The Title” is a slinky traipse through the banality of this current moment in patriarchy - in which survivors are given the mic, but nitpicked over the timbre of their testimonies. “You hate the title, but you’re digging the song,” Dupuis sings wryly, “You like it in theory, but it’s rubbing you wrong.” Tuned smartly to the political opacity of the present, Twerp Verse rings clear as a bell.
Still in their 20s, Stewart and Cunningham are both classically trained musicians and are established players within the Chicago music scene. They are especially involved in performing and working for venues within the local experimental music scene. They’re constant collaborators and have recorded and toured with homegrown acts as varied as Tweedy, Whitney, Chance The Rapper and Twin Peaks.
Cunningham and Stewart are multi-instrumentalist, singer-songwriters with a penchant for two instruments in particular. “The band started because we knew we could sing well together and we wanted to make some noise with the guitar,” says Cunningham. Stewart elaborates, “Sima and I are both trained classical pianists and we know many of the sonic spaces keyboards have to offer. Since we were interested in experimenting and creating something different from what we had both done in the past, we chose guitar as our outlet for this band. We wanted to create both new and uncomfortable parameters for ourselves to force us into a different creative space.” These guitar-heavy experiments are sometimes earthy and resounding, at other times shimmering and buzzing—swirling around the duo’s expertly crafted vocals while creating a chaotic bed of harmony. Cunningham’s smoky alto complements Stewart’s higher-register croon, all underpinned by the restrained yet highly inventive polyrhythmic percussion of drummer Matt Carroll. Think Amber Coffman and Angel Deradoorian-era Dirty Projectors.
Enlisting fellow Chicago cohorts Doug McCombs (Tortoise), Ken Vandermark and cellist Tomeka Reid, OHMME recorded and self-produced Parts from Cunningham’s Logan Square home studio, Fox Hall. With Parts, OHMME “wanted to capture a moment in time instead of something perfect.” The results are thrilling: from the pure pop opening track “Icon” to the candied sludge of “Peach” to the skipping rhythms of “Parts” and the dusky closer “Walk Me,” Parts draws from influences as diverse as Kate Bush and Brian Eno’s Here Come the Warm Jets to jazz and improvisational music, making for an electric debut listening experience.
This range from sweetly shiny 2-minute hypnotic bangers to woozy and sprawling 7-minute long tracks boasting moodily atmospheric wafting guitars and piercing feedback shows a band colliding thoughtfulness and creative ingenuity to produce music as unique as it is earworm-worthy. With Parts, OHMME manage to organically marry a breadth of divergent styles into an album that is cohesive, daring, and distinctly their own.