The Man Before JPEGMAFIA: Devon Hendryx

Robert Lloyd Howard IV

Rap/Hip-Hop Journalist

Before many artists make it big, they often go through a process of discovering their signature sound—a journey that can take years of experimentation and self-reflection. Along the way, many artists adopt different aliases to showcase their versatility, evolution, and willingness to take risks. Each alias often represents a distinct chapter in the artist’s life and career. One such artist is Devon Hendryx, who you may now know as JPEGMAFIA.

Before he became JPEGMAFIA, Barrington DeVaughn Hendricks, an 18-year-old from Baltimore, enlisted in the United States Air Force. Faced with financial struggles and a lack of direction, he saw the military as his only viable option at the time. During his time in the Air Force, he served a tour in Iraq and spent time in Kuwait, Germany, Japan, and North Africa. After speaking up about abusive treatment from his superiors, he was honorably discharged. While still in the Air Force, at the age of 19, Barrington returned to making music after a period of frustration with people not liking his producing. Between 2007 and 2009, he began working on what would become DREAMCAST SUMMER SONGS, a reference to the gaming console Dreamcast, with all the song titles nodding to Dreamcast games. This would be the first project released under the Devon Hendryx alias.

This six-track instrumental album highlighted his skills in sampling and production. One standout track, “Chuchu Rocket ☃,” opens with a mellow jazz vibe that dominates the first six minutes. But then, after a beat switch, Devon introduces a vocal sample from the film She’s Gotta Have It, transitioning the song into a love-infused atmosphere. The album’s final track, “Code: Veronica ✖.” A nod to “Resident Evil Code: Veronica”, starts with a house beat, but much like the other tracks, the beat switches and morphs into an electronic, ambient jazz fusion.

Many in the vaporwave community consider this album to be one of the first, if not the first, vaporwave albums due to its use of chopped and screwed samples, retro aesthetics, and genre-blending soundscapes. Vaporwave is known for its nostalgic approach, often characterized by slowed-down samples of smooth jazz, lo-fi, and ’80s/’90s pop, creating a dreamy atmosphere. Showcasing Devon’s ahead of his time creativity, along with his early musical mindset.

In 2010, Devon Hendryx released JOECHILLWORLD, his first album to feature his rapping. His style on this project is aggressive, with punchlines designed to shock and provoke. The production, while experimental, leans heavily on cloud rap influences. Tracks like “Neon Kitchen” feature his raunchy, aggressive delivery, but the smooth, relaxing beat allows the lyrics and samples to shine without overpowering drum patterns. Another standout track, “The Power of Madonna,” offers a stark contrast to the rest of the album. Here, Devon shifts to a more emotional, introspective tone, revealing a vulnerable side. During this time, Barrington was still in the Air Force, a period of his life marked by frustration and depression, as he felt his music wasn’t being recognized or appreciated.

Fast-forward three years, and on October 22, 2013—his birthday—while stationed in Japan, Devon Hendryx released what many consider his magnum opus under this alias. The Ghost Pop Tape. Released on a day that marked both his birth and a symbolic rebirth, the project feels like the final chapter in his Devon Hendryx persona, hinting at the eventual emergence of JPEGMAFIA. Throughout the album, the theme of loneliness is present in both the lyrics and the production, creating a depressive introspective atmosphere. Devon reflects on past trauma, mental health struggles, and his current mindset, with these themes ultimately signaling a transformation both in his music and identity.

The Ghost Pop Tape is truly an experience, as the songs flow together seamlessly. Many tracks feature limited vocals, allowing the instrumental transitions to shine. A standout example of this is the transition between “Heart Emoji”—an instrumental track that evokes a creepy, ambient sensation of being lost in the backrooms—and “HBK,” which is a cover of WWE wrestler Shawn Michaels’ theme song “Sexy Boy.” Devon completely transforms the original goofy tone of the song, turning it into a reflection of his own past traumas, giving the track a haunting, deeply personal quality. One of the biggest and personally my favorite song from the album is surprisingly “Call Me Maybe.” I love how Devon turned this happy feeling pop song about a girl who hopes for a call back from her crush, into something much darker. His version takes you into the mind of someone who feels deeply lonely and desperate for a romantic connection. The instrumental in this song is absolutely beautiful. The lo-fi elements, heavily reverbed vocals, random audio of WWE matches playing in the background, and the overall sense of comfort all contribute to the track’s chaotic yet captivating beauty.

The final track in the Devon Hendryx era, “Sakura,” is another beautifully produced piece. The title is a reference to the cherry blossom, a flower often associated with both beauty and mortality—fitting for what feels like the symbolic death of Devon Hendryx. This theme is reinforced by the spoken word verse at the end, where he states, “I made this album despite the fact that I don’t really have a future. I made this album because I love making music.” The response reflects both the passion of and turning point in his career, marking the end of the Devon Hendryx persona and the birth of JPEGMAFIA.

The Devon Hendryx era was a crucial period of artistic growth for JPEGMAFIA. These early projects, he navigated his personal struggles and channeled them into raw, experimental music that challenged genre boundaries. From DREAMCAST SUMMER SONGS to The Ghost Pop Tape, each release reflected a different side of his identity. This period was marked by deep introspection and relentless creativity, setting the stage for the transformation into JPEGMAFIA. As Devon Hendryx faded, JPEGMAFIA emerged, a more polished but still boundary-pushing artist, whose work continues to reflect the fearless risk-taking and genre-blending character of his earlier years.