Dum Dum Girls / Too True - SP1040
End Of Daze had for me signaled exactly that; an end to a part of my life that was confused, difficult, disastrous, and at times, redemptive. It was a marked comment to myself, for future reference, that what will be, will be, and that there is always exciting work to be done ahead. It is never that easy, though, and so was ushered in a new version of confusion, et al.
In the summer of 2012, between tours supporting End Of Daze, I locked out the world and sat down in my apartment to write a new record — clear view of the New York City sky through iron bars like a promise. Like all compulsive minds, I was waiting with bated breath (“and whispering humbleness”) to let the muse loose.
I’ve always lived an introspective life, but it is these rare moments of actively stepping outside my head, to create things tangible to others, that I find truly transcendent. Performing live offers the same rush to me, but it’s an even more elusive, haunting ghost. I was reminded of that letter Nick Cave wrote to MTV, in response to being nominated for an award. Apart from his refusal to be competitively evaluated, it was his gentle worship and protection of his own creative process, his crowned Inspiration, which resonated with me. (Do yourself a favor and read it here if you’ve never.)
I had collected various songs and half-songs over the previous months, vaguely regarding them as future releases, but had the nagging feeling they were to be tossed out on the hunt for the next sound, the next record, which was at that point almost palpable.
And so I spent the next week in a sparkling haze, seven stories closer to Heaven, and when I emerged from the frenzy to go back on tour, indeed ten new songs came with. They were bound together, not just by an overall sonic palette and new guitar pedal, but by time, intention, and fervor.
Do you hear Suede? Siouxie? Cold-wave Patti? Madonna? Cure? Velvet and Paisley Undergrounds? Stone Roses? Cuz I did.
A month later I ran away to Hollywood, and again locked myself up, and two more songs were born from drunken loneliness in room at the Chateau Marmont — points if you can discern which ones.
Still later, in November 2012, I returned to Hollywood to record among the lingering Pet Sounds at East West Studios, in pursuit of a bigger, darker, more urgent sound. Sitting in the room with my favorite team of regulars (Richard Gottehrer and Sune Rose Wagner producing, Alonzo Vargas engineering), it was easy to add some flesh to my song skeletons.
Unfortunately, karma take it or leave it, I had to confront the reality that my voice was destroyed; that the previous year of touring had reduced my once infallible instrument to a pale spectre of its former self. I was broken and when I left California, it was with the heavy burden of an unfinished album. It is a much longer and more boring story, but in short, it was devastating and demanded a severe detour from the future I’d anticipated.
Truly one of those disguised blessings though – the extra time was a gift. What initially felt like a retreat became a reawakening. These songs weren’t done at all! And so I worshipped at the tall pile of books I’d bought in Los Angeles, on topics and imagery I’d been consumed by and words that had resonated so deeply with me they felt like artistic collaborators: Rainer Maria Rilke, Anais Nin, Arthur Rimbaud, Paul Verlaine, Charles Baudelaire, Sylvia Plath; the punk poet singers Patti Smith and Lou Reed (who, like many I consider to be my spiritual parents); and finally, an admittedly unhealthy obsession with the Surrealists’ manifesto of desire.
Here it was spelled out for me: Desire as muse; Life as experiment; a miracle for every failure and vice-versa. I put pen to paper and I wrote, and then I sang. I sang into my own private microphone, in my tiny bedroom studio, with no one save my make-believe coconspirators to hear me, and no one to weight me with the looming pressure of inability. I was a woman possessed and my possession enabled me.
I write this now, many months later, on the up. I have served the songs and the songs have served me. It is never pretentious to feel and create. So much of my life has been defined, aided, and even saved by music. Here is my best attempt at joining the rock’n’roll ranks, of chasing pop into the dark, and I am as ever, humbled that you listen.
PRE-ORDER DETAILS & EXCITING NEWS
Customers who pre-order the LP version will receive the limited “Loser Edition” colored vinyl.
You’ll also receive a bonus 7" featuring the album track “Rimbaud Eyes” as the a-side and the unreleased track “Girls Intuition” as the b-side with all copies of the LP or CD versions of Too True.
All pre-order exclusives and extras are on a first come, first served basis and once they’re gone, they’re gone. Order now to secure all limited-edition items!
Also please know that if you pre-order this record, your order will not ship until the week of or before January 28th. This applies to everything in your order – NONE of it will ship until the week of or before January 28th. So, if you’d like to order more than just this Dum Dum Girls CD/LP, it would be best to place separate orders if you’re the type who wants what you ordered, and you want it NOW! Thanks!
MP3 download included with all vinyl releases
Released: January 28, 2014
Too True CD/LP + Too True White Shirt
Dum Dum Girls’ Too True on CD or LP + Too True White T-shirt
Too True CD/LP + Too True Black Shirt
Dum Dum Girls’ Too True? on CD or LP + ??Too True Black T-shirt
Dum Dum Girls / Only in Dreams - SP950
On several levels, Dum Dum Girls’ second full-length Only in Dreams is a great leap forward for a gifted songwriter and an equally gifted band—it’s heavy, deeply personal stuff and surely unprecedented for this style of music. “The first record was basically the first songs I’d ever written,” says band-leader Dee Dee, “and I was thinking nostalgically about being a teenager. This record, it was pretty much impossible not to write about very recent, very real things.” Very real things indeed: Dee Dee wrote “Hold Your Hand” immediately after her mother (the pretty lady on the cover of both the Dum Dum Girls’ self-titled 2009 debut EP and their 2010 debut album I Will Be) was diagnosed with what turned out to be a fatal illness, and it’s one of several songs on Only in Dreams that unsparingly trace her mom’s passing. Other songs spell out the emotional toll of separation from one’s lover, something Dee Dee had to deal with while she and her husband (Brandon Welchez of the acclaimed noise-pop band Crocodiles) pursued their own tour schedules.
Only in Dreams more than fulfills the promise of 2011’s acclaimed and fast-selling He Gets Me High EP. It retains Dum Dum Girls’ signature blend of the girl-gang eyeliner punk of the Shangri-Las, the trashy propulsion of the Cramps, and the moody atmospherics of Mazzy Star, but for the first time, all four Dum Dum Girls play and sing on the album. Now the harmonies have more depth, Jules plays her own distinctive guitar leads, and the Bambi (bass)/Sandy (drums) rhythm section powers the music like a vintage V-8 engine. Best of all, tons of time on the road—including two massively successful headlining tours—have molded Dum Dum Girls into a very formidable rock & roll band, giving the music an undeniable force.
And now that power and glory is showcased by full-on studio production—while I Will Be was recorded at home and modestly spiffed up in a studio by legendary pop maestro Richard Gottehrer (Blondie, Go-Go’s), Only in Dreams was recorded at Josh Homme’s Pink Duck Studios, and Gottehrer again produced, this time with Sune Rose Wagner from the Raveonettes.
Only in Dreams represents a musical evolution for Dum Dum Girls and a personal one for Dee Dee, and that’s no coincidence. “I’m for real,” she says. “We all are. I’m really passionate about this, it’s all I know. And maybe we’ve just grown up a bit-or grown out a bit. There’s some weight to what we do, and a pure intent, and I think that comes across on this album.”
Released: September 27, 2011
Dum Dum Girls / Chickens in Love - 4084092
CHICKENS IN LOVE is a full-length album written by 826LA’s students and recorded by a variety of well known musicians.
Each song was written by 826LA students in Songwriting with The Submarines, a workshop led by singer/songwriters John Dragonetti and Blake Hazard of The Submarines. Not only that, but each student-written song has been covered by L.A. based artists such as Fiona Apple, She & Him, Cold War Kids, Tim & Eric, and many more!
Choose from student bands Hot Fudge, Pig Power, The Gummy Bears, The Peeps, The Shaking Churros, The Taco Shells, Kimi, Shizuku, and Xena, Jennifer Lopez, SLAP ENT., The 826LA Band 1, The 826LA Band 2, and The Weirdoz.
Help keep our free programs for L.A. youth strong by purchasing this unique album!
The artists involved are: She and Him, Edward Sharpe and the Magnetic Zeroes, Fiona Apple with Jon Brion and The Punch Brothers, Dum Dum Girls, Cold War Kids, Tim and Eric, Crystal Antlers, Summer Darling, The Pity Party, The Growlers, Submarines, and The Happy Hollows.
Released: November 16, 2010
Dum Dum Girls / Blissed Out Cassette - 4084095
Limited Edition Blissed Out Cassette on Art Fag Records—blue cassette!
Released: July 13, 2010
Dum Dum Girls / I Will Be - SP840
I Will Be is the debut full-length by the Dum Dum Girls. Produced by Dee Dee and Richard Gottehrer (Strangeloves, Voidoids, Blondie, The Go-Gos and, more recently, The Raveonettes), I Will Be is neither lo-fi nor too polished. Just under thirty minutes with eleven songs, it’s a short tribute to love, fun and the classic pop form of the ’60s girl groups and early punk rockers.
Released: March 30, 2010