We Speak Music
Devin James Fry releases his post-pandemic masterpiece ‘Retrellion’
Devin James Fry is pleased to announce the release of his new album ‘Retrellion’ this April, 2023. ‘Retrellion’ is a departure from his previous sound, which typically featured him fingerpicking a guitar, either alone or in the context of Name Sayers, the adventurous psychedelic rock band he fronts. The new album, which was produced, recorded, and mixed by Fry, features punchy, hip hop-influenced songs that are difficult to classify into a single genre, with otherworldly synths and glitchy electronics throughout.
Early reviews have noted the shift. “Is this post-punk hip hop? We hope so,” wrote reviewer Layla Merino of yourEDM.com, noting that with Retrellion, “Fry might even be creating new genres.”
The album’s title reflects that it is the product of a time (the Covid-19 pandemic) when societal norms broke down and expectations could be set aside.
“I wanted a word that felt like both retreat and rebellion,” says Fry.
Thus, ‘Retrellion’ was born. Some songs, like lead single ‘Black Rainbow’, feature collaborations with rappers like Brooklyn’s Chris Conde and Denver-based rapper and circuit bender Otem Rellik, while others are solo explorations. All were created using a bank of synthesizers and noisemakers including ‘The Jitter Getter’, an analogue sound effects engine Fry designed and built himself, and which is featured in the video for previous single ‘Purple Glue’.
One song, ‘Ash Ode Variation’, is an adaptation of the poem ‘Ash Ode’ by Fry’s friend and hero, poet Dean Young. Fry enlisted the help of another of his mentors, Chicago flutist Lloyd Brodnax King, to create the song and sent it to Young, who replied to say that he was looking forward to listening to it.
Unbeknownst to Fry, Young lay on his deathbed at the time, and Fry is unsure whether the poet heard the song before he died.
The ‘Retrellion’ merchandise is as offbeat and finely crafted as the music, and includes a 180-gram LP, colouring books, incense, lathe cut 7” singles, soap, and matchbooks. Yes, anything seems possible in the world of Devin James Fry.
“Balancing Act” by Vinyl Floor is a real treat. It is the sixth record from brothers Daniel and Thomas Charlie Pedersen sounds like it was made for right now and how they blend the ’60s and ’70s with modern elements never feels forced.
The production is clear and thoughtful. Every string, every horn, every vintage keyboard has space to exist. “Puppet Laureate” opens strong with real energy, while “The Swan of Eileen Lake” catches you off guard with folk warmth. “Adelaide” might be the best track, built on a lovely piano line with vocals that cut through cleanly. No hiding behind effects here.
The title track closes things out with the reflection the album’s been working toward. The core idea of finding hope in a fractured world could tip into despair easily, but Vinyl Floor stays honest about it. They’re not offering false comfort, but they’re not drowning either.
Progressive rock this restrained is rare. The arrangements serve the songs instead of overshadowing them. If anything, some moments could use more breathing room, but that’s small in a record made by people who clearly care about what they’re saying.
This is for anyone who wants rock that actually wrestles with real ideas. It counts for something.
You can listen here.
