Great Scott; Boston, MA
I’m happy to report that some invisible psychological dishwasher tablet (perhaps it was being an un-photogenically miserable child) got my subconscious sparkling clean of any trace of romance for the 90s. I’ll take its music and culture any day, but when I heard a few of its recent musical converts I recognized its attitude as something I would rather scrape the back of my eyeballs with a needle (thanks Isaac Newton, for the crafty tip) than revisit. The 90s: that decade of rustic, abject boredom, when advertising became coyly subliminal, when there was literally nowhere to hide from the glare of the bullshit. I see the decade rolling back into town again, and I see a re-run of that pursuit, a world where viral marketing techniques hone in on their targets, not with choppers and loudspeakers, but with the drones.
Now dear reader, this avert-sign is not a negative comment on Speedy Ortiz; it’s a token of my genuine goodwill: I want Speedy Ortiz — I want all young people in bands — to be happy. And since to be happy is to avoid being misled by the fashions of Urban Outfitters, it is with concern about the attitude of the scene rather than its music that I approach my young charges’ burgeoning careers.
Speedy Ortiz’s affectionate curation of their roots in this East Coast scene, stretching back to the 90s and before, seems a good start — check out their “Drivin’ on Nine” compilation, which features Heatmiser and Come (and the hilarious outtakes Mission of Burma and Marky Mark). At Allston’s Great Scott I witness a crowd-surfing guitarist, frenetic drumming, a bunch of 22 year olds learning how to mosh, and an intense lock-down of a set during which the music — challenging the easy power-chord distortion combo with off-kilter tempo and the interweaving of Sadie Dupuis’ barbed, colorful lyrics — reveals itself as tightly constructed — nothing like the tame shoebox-sticker definition of ‘college rock’ that all those Pavement comparisons suggest.
With her own hands, Dupuis made the cover of their first album, Major Arcana, into a clever collage out of layers of blue-and-white tissue paper that she picked to resemble willow-pattern pottery. The band’s work ethic is beneath-the-fingernails too; tours revolve around Dupuis’ breaks from teaching and studying at Amherst. Matt Robidoux is a guitar teacher, and Dupuis herself has been playing guitar since she was 13.
That presumably explains their odd assortment of 90s influences, which seem pulled together until you realize the 90s music once was born out of very different scenes has now retired into the old soldier’s paradise of guitar-book selections. Dupuis even once played in an all-female Pavement cover band called Babement. And yet Dupuis, who also has suggested half-jokingly that she might set up an all female tribute band called “She-badoh,” sings the lyrics “You picked a virgin over me” in an accusatory line that sounds painful to utter. Dupuis does a good job of handling the dual responsibility of being a laid back frontwoman and a tortured lyricist carving out a heroic, battle-scarred personality for her band — but this still seems like a tough line to walk. I kept uneasily returning to the “limp” that she mentions in her lyrics, the summer spent on crutches as a kid. And I remembered that back in the day, these stoic heroics came with a price — a stiff (pierced) upper lip. That is the other side of the undoubted power and glory of Speedy Ortiz’s rock-reanimation project. There was an acceptable disconnection with the power of the individual voice when traveling in the dude-ranch of the rock-band (even if it was a female dude-ranch) that bordered on groupthink and seemed to emanate from some wrong-ass conviction that a ‘we’ could only give birth to a stunted version of ‘me’ — unless we all like the same things and nod our heads in unison.
Rightly or wrongly, the title of Speedy’s first full-length, Major Arcana speaks to me of this paradoxical self-expression-with-a-clamp. It might be deliberate, it might not be. But even without getting into a discussion of the tarot reference, the distinction between major secrets and minor secrets is reminiscent of 90s tribalism — a world in which local scenes and bands protected themselves in their purity, became ‘big secrets’ that gave local audiences a sense of purpose, resistance against the danger of selling out.
There’s nothing really wrong with this, unless it breeds insularity and stifles creativity. Minor secrets depend on major secrets, depend on the concept of “in-the-know.” And we have to allow the possibility that perhaps insularity breeds creativity. That petri-dish has to stink of armpit & Allston for fermentation to take place. Speedy Ortiz went a long way toward breeding this genuine excitement at their Great Scott Show, wherein the dragging limp of Dupuis’ thorny lyrics is channeled into the healthy business of outing the beast of songs like “Tiger Trap.” The band have said they strive never just to turn up and play, always to deliver a good show. But still — for me at least — the cryptic antecedents of the underground looms over proceedings; the archness of ‘saying it without saying it,’ a safely detonated protest that packages confession as an incomplete gesture: “Oh-well-whatever-nevermind.”
It’s a very tricky thing to put your finger on the source of your geriatric, knee-jerk unease. I’m sure it doesn’t spell the apocalypse of all culture to see musicians mining this part of our cultural history again. And if Speedy Ortiz are going to volunteer their reassuring presence during this second dark age, I couldn’t ask for a band with more focused concentration, a band who actually cares about stage presence and putting on a good show for their sweaty audiences. Forget about the 90s revival, forget about the ticker-tape search results of mainstream publications delighted to stumble on their coolness, just find out when they will be in town, and be there. “Being there” raw, live, and alive was what the guitar/bass/drum outfits really offered us during the 1990s — not precious secrets.