Photo By Ian King
The album opens with just an acoustic guitar, setting an atmospheric, darker mood that is quickly engulfed by Wryn's stirring vocals. Ethereal yet powerfully raw, their voice commands attention from the first note, floating above the instrumentation like a force of nature. Behind the vocals, the song's heartbeat comes from Wryn's slow build of the instruments, a steady pulse that intensifies with each note.
Wryn took their time crafting this project, ensuring every song swells with this aching beauty. Nowhere is this more apparent than in 'Multitudes’, where the saxophone glides effortlessly into a song's final moments, delivering one last emotional punch as it fully blossoms. Blasko's production shines in its crisp clarity - preserving the raw textures, from the squeak of the acoustic strings to the breathy intimacy of Wryn's voice, allowing every element to thrive.
At its core, ‘Shapes' is about self-discovery beyond trauma - finding acceptance without its shadow. Wryn's songwriting is exceptional throughout, crafting deeply emotional visuals with their words.
'Snake' is a standout track, born from Wryn's anger over anti-trans legislation and the overturning of Roe v. Wade. They sing, 'holy water / can't save your daughters / or wash your hands clean / and I can't wait for answers’ - a searing indictment wrapped in raw emotion. These lyrics have echoed in my mind for weeks - there's something undeniably powerful in them. Beneath the anger lies the vulnerability I'd been searching for, the sadness that makes the rage even more potent.
'Shapes' is one of those albums that will linger in my soul for a long time. A powerful debut under Wryn's new moniker, it's at its best in the slow-burning moments, where emotional urgency simmers just beneath the surface. By showing that rage and vulnerability can co-exist, Wryn gives us permission to release both. For Wryn, that release comes through creating music. For me, it's in screaming these lyrics back, feeling every word.
‘Shapes’ is out everywhere on March 28th, you can presave the album here!
WRYN - 'SHAPES'
A slow-burning, soul-shaking journey of anger, healing, and self-discovery, 'Shapes' is available everywhere on March 28th.
Every music lover knows that visceral reaction—the goosebumps when a song stops you in your tracks. It’s a feeling we’re constantly chasing, diving down rabbit holes of playlists in search of that next emotional punch. Running GRRRL Music has introduced me to countless artists who spark that reaction, but few have hit me as hard as Wryn. The moment I heard ‘Snake,’ I felt it—full-body chills. Their voice wasn’t just mesmerizing; it felt like fate.
Music has a way of finding you exactly when you need it the most. In my early twenties, when I felt lost and frustrated, Midwest emo became my therapy - music I could scream, cry and sing along to as if it was reading my personal diary and now, as I watch my country unravel, I find myself gravitating towards music that carries both vulnerability and rage. The first minute of Wryn's debut album, ‘Shapes’, was all it took - I knew I'd found exactly what I needed.
In 2020, Wryn sought out producer and mixer Bella Blasko (The National, Feist) to help shape the album. Working mostly remotely, they enlisted drummer JT Bates (Bonny Light Horseman, Big Red Machine) and bassist/saxophonist Mike Lewis (Bon Iver) to bring depth to the instrumentation.
But ‘Shapes' became more than just a collection of songs - it was a deeply personal project for Wryn, shaped by their return to therapy and a reckoning with the past few years. Reflecting on the experience, they shared, ‘My music got better. More personal because I was able to look at myself more clearly and see myself as separate from my trauma’. They also added, ‘It's not just about gender. That's just one part of what came from this process.’