It’s very strange (“Or not strange at all! Hi!” says feminism) that most of the music we funnel into little girls’ ears—even music written by former little girls—is about how women are petty, pretty garbage whose only valuable function is to hold perfectly still in men’s boudoirs and wait for intercourse. “I wanted to make songs that were the opposite of ‘Genie in A Bottle’ or ‘The Boy Is Mine,’” Sadie Dupuis says of Slugger, her new solo album under the name Sad13. “Songs that put affirmative consent at the heart of the subject matter and emphasize friendship among women and try to deescalate the toxic jealousy and ownership that are often centered in romantic pop songs.” What!? Songs for women that actually champion women’s autonomy, reflect women’s desires, listen to women when they talk, and let women be funny and normal and cool, like women actually are?

After being born, which she totally nailed, Sadie grew up in New York City, toured internationally with a professional children’s choir, then bounced around Massachusetts before eventually landing in Philadelphia “like every other feminist punk.” She has an MFA in poetry from UMass Amherst, likes comics WITH AN ALL-CAPS PASSION, has written for Nylon and Spin, and is mega-beloved for her rock band Speedy Ortiz. Most recently, finding herself disillusioned with a lifetime of misogynist radio pop and yearning for the megalomaniacal autonomy of a solo project, Sadie/Sad13 churned out Slugger in a two-week fury.

Slugger is a pure solo effort. Sadie didn’t just write and sing and play guitar, she recorded and produced the record herself in a subletted bedroom in Fishtown—a not insignificant act of feminist defiance. Despite millennia of evidence to the contrary, women in music are still relentlessly pigeonholed as, essentially, decorative. Sure, you can be a girl singer, or a girl tambourine player, or, once in a while (the height of novelty!), a girl drummer, but a girl producer? A girl engineer? Cool X-File, Mulder! Sadie steers Slugger with a serene sure-footedness, vaporizing that old lie better than any howling polemic ever could. The best revenge is to do your work.
Slugger’s musical touchstones are vast and varied: contemporary pop à la Charli XCX, Santigold, Kelela, Grimes; folk songwriters Karen Dalton and Connie Converse; ‘90s trip-hop; riot grrrl (duh); plus Sad13’s feminist indie and punk contemporaries like Tacocat, Waxahatchee, Mitski, and Bully. Slugger shouldn’t feel like a revolution, but it does—in both content and execution. This is fun music about real shit.

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Prima is the rock project of singer-songwriter Rose Blanshei, who tells cinematic, emotionally exact stories in a bold, vital style. Blanshei’s voice sears with a ferocity and exactitude which recalls a young PJ Harvey or Patti Smith, while her melodies can insinuate the smokiness of torch singers past, even chanson. Helped by driving rhythms and angular guitar voicings, these songs build and churn towards terrifying heights, or hang back with a cold stare.

Zenizen was created by Opal Hoyt who was born in Alaska and raised between Vermont, Jamaica, Washington DC and Brooklyn. After playing in a Brooklyn-based rock band for years, she found herself infatuated with writing songs and creating musical landscapes with an emphasis on all things soulful and the two merged. Minnie Riperton, Mariah Carey, London Nu-jazz is where she always came from and half of where she ended up. Since heading to Australia for the second time to write/record the band’s debut EP, she has been back in New York simultaneously playing shows and working on the band’s ‘vaguely seasonal’ full-length — due in 2018. Blurring genre lines but always committed to modern psychedelia, poetry, and groove.