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Speedy Ortiz<\/a> frontperson Sadie Dupuis has been making solo music as Sad13<\/a> for over a decade, but lately, that project has been on hold. Now, she\u2019s ready to make her grand return with a new mixtape, 1331<\/em>, and has shared its opening three songs\u2014marking her first new music in six years. 1331<\/em> is out July 10 via Exploding in Sound<\/a>. Listen to the tracks \u201cI Am Now Completely Invisible,\u201d \u201cArt Institute,\u201d and \u201cWatermelon Manicure\u201d below.<\/p>\n 1331<\/em> was primarily written two years ago during a \u201cmini nervous breakdown\u201d that Dupuis experienced. After the therapeutic but intense subject matter of Speedy Ortiz\u2019s 2023 album, Rabbit Rabbit<\/em><\/a>, and the self-reckoning of her past that preceded it with Sad13\u2019s 2020 record, Haunted Painting<\/em><\/a>, she wanted to lifted some of that pressure by writing daily songs that were a minute in length. As that challenge unfolded, she realized the lyrical focus shifted from her personal struggles to the broader experiences of her community in Philadelphia.<\/p>\n Elaborating on the mixtape\u2019s title, Dupuis explains: \u201c1331<\/em> signifies palindromes, mirrors, warped balance. It\u2019s a mash-up of two ages in the lyrics. The first, as in my alias \u2018sad thirteen,\u2019 represents teenage moodiness, while thirty-one bookmarks young adulthood, which brought me more radical clarity.\u201d<\/p>\n As usual, Dupuis handles all of the instrumentation herself on the new mixtape, from three different types of guitars (electric, baritone, and acoustic) on to organ, bass, drum programming, and beyond. Tracking 1331<\/em>, however, was the hard part. In June 2024, Dupuis was injured in a bicycle accident that shattered her elbow and required both reconstructive surgeries and a year of rehab. \u201cMy body didn\u2019t have the juice,\u201d she said. \u201cBut tracking in little bursts over more time gave me broader influences.\u201d<\/p>\n Revisit Dupuis\u2019 interview in the feature The Chorus of #MeToo, and the Women Who Turned Trauma Into Songs<\/a>.<\/p>\n