Posts in Carpark Records
Sadie Dupuis (Speedy Ortiz, Sad13)

Sadie Dupuis has a studio set up in her house where she does most of her work for her band Speedy Ortiz and her solo project Sad13. Once she’s down there, she has no trouble getting into the flow of the creative process; in fact, she often has to tell herself to take a break so that she doesn’t work through the night.

The hard part is getting started down there in the first place. She often find her studio “overwhelming and stressful.” It puts too much pressure on her. And who wants to feel overwhelmed and stressed at the start of a project? Her solution is brilliant: she starts on her couch or her table, which she finds less intimidating because it doesn’t feel like work. Then, she says, “I'm excited to go down to the basement and continue. If I sit on my couch or sit at the living room table, it's so much less intimidating to get into a new project. I don't think I'm working, so it doesn't feel scary.”

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Sadie Dupuis, Speedy Ortiz

It's great paradox, right? Sadie Dupuis, songwriter and frontperson for Speedy Ortiz, has an MFA in poetry from the University of Massachusetts. She's been writing poetry for several years. Yet she insists on writing her song lyrics in prose form. They look like paragraphs. She even hates when anyone writing about her music transcribes her lyrics in verse form. "It really does drive me crazy when I see my lyrics reprinted in stanza form. I mean, I'm giving it to them right here. This is the way it should look!"

But it should come as little surprise that Dupuis treats song lyrics this way: her poetry writing and song writing have nothing in common. Her poems start with words and with an idea she'd like to write about, but her songs almost always start with a melody. Sitting down to write poetry and instead coming up with a song "would almost be as if someone sat down to create an oil painting and wound up choreographing a ballet instead," she told me. 

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Dan Deacon

Dan Deacon is best known for his work as an electronic musician and, more recently, even as a classical composer. He's received tremendous (and well-deserved) critical acclaim for the novelty of the sounds in his electronic music, not to mention his live shows. His new album, Gliss Riffer is the first of his releases to feature vocal tracks, to see his voice as an instrument to ply just like all the myriad instruments we hear on his albums.

As you'll read, my interview with Deacon was not about the specifics of the writer's routine, as many of my interviews are. Deacon sees himself as an artist in the true sense of someone who creates art; he's much more than just a songwriter. So this conversation is more about the amorphous idea of creativity. More specifically, it's about Deacon's frustration with not having enough time to create. As his popularity increases, so do the demands of his career: the interviews, the meetings, the emails. Even the live shows. When he's touring for an album, he's not able create new art. And that means less time to create, which frustrates him.

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