Austin blues rock band Title Sayers is a type of not-so-well-kept secrets and techniques that indie followers uncover and fall in love with on the ancillary gigs round Austin Metropolis Limits or SXSW. As smoky and bluesy as a Lord Huron or a Hozier however with a decidedly grungy bent to maintain them from being lumped in with the the sometimes-too-contrived indie folks style, Title Sayers space native gem in a metropolis filled with native gems. That stated, we right here at EDM are keen to wager nobody noticed Title Sayer frontman Devin James Fry branching out into electronica as a solo act coming. Nicely right here’s one other shock, indie rock followers: he’s been doing it for 9 years.
Let’s qualify this a bit: Fry simply began making his personal beats in his most up-to-date tracks, “Purple Glue” and “No Hope.” His first solo album Headwater Songs in 2013, actually, was much more blues-and-folk-informed than his band. In reality, this album launched earlier than Title Sayers’ first EP 4 Desires. Radicans, Fry’s first digital-leaning solo album truly got here out in 2020. A mixture of acoustic, Gipsy Kings-style guitars, bluesy vox and drums and post-punk songwriting a’la Nick Cave, the one digital manufacturing comes from easy ambient sound design however it’s nonetheless there.
So all that stated, “Purple Glue” and “No Hope” are a departure for Fry to say the least. Launched as a duo, it appears with these two tracks Fry wished to carry that put up punk taste from Radicans to his very first digital tracks. “Purple Glue” is decidedly essentially the most put up punk of the 2, with Fry’s wealthy, bluesy Tom Waits-esque voice smoothing out the perimeters of the gravely journey hop beat and synths. There’s an industrial high quality there was properly, once more from these uncooked synths and the echoey sound design in addition to the kind of desolation within the vox and twisting of notes. It’s what one would assume Ian Curtis may need finished if he’d survived, had entry to fashionable gear and all of the sudden misplaced his tone deafness. Publish punk turns into put up rock turns into put up…industrial? Fascinating thought and it positively makes “Purple Glue” a innovative observe.
“No Hope” that includes Otem Rellik and Nat Tate is much more integrative of put up punk and industrial ambients with what’s basically a entice beat. Fry and Tate’s looped vocal refrain grounds the observe, or somewhat, swirls it into an inky sonic abyss. Rellik comes over the entire heavy Bauhaus-gone-digital mess with verse that’s half rap and half spoken phrase a’la John Cooper Clarke to essentially drive house the verbal level in no unsure phrases. The impact of this collaboration is nearly a extra bluesy, industrial and dystopian model of mid-era Gorillaz. Is that this put up punk hip hop? We definitely hope so.
With “No Hope” and “Purple Glue,” Devin James Fry appears to not solely be increasing into digital and scratching some kind of digital itch that none of us knew was even there, however he may even be creating new genres alongside the way in which. Because of this it’s necessary to all the time hold one’s eye on Austin if one needs to remain within the know with music. Even the artists like Fry and his Title Sayers who appear to be they’re all classic indie folks can all of the sudden come out with some loopy trap-laced hip hop. “Preserve Austin bizarre,” certainly, and together with his solo tracks wanting simply as widespread on Spotify because the Title Sayers ones, we are able to doubtless count on much more put up punk, indie pop, weird-ass electronica.