Review: Ella Forrest and the Great Pine's Retrograde

by Scott Roos

Our Grade: A-

Released in August of 2025, Retrograde, by Ella Forrest is a confident, carefully constructed sophomore EP that wears its influences proudly while carving out a sound that feels refreshingly distinct within the current Saskatchewan music landscape. Rooted in soul, funk, smooth jazz and pop with a retro sensibility, the record immediately signals that a great deal of intention and craft went into both the songwriting and the arrangements.

After a brief musical intro, the album opens strong with “Ghosts,” beginning simply with Ella’s voice and keys before gradually expanding into a dense, full-band arrangement. A deep, funky bass line anchors the track, with Jakob Bjornson quickly establishing himself as a standout player - channeling a convincing Bootsy Collins energy throughout the record. As guitars, horns, and rhythm section enter, the track becomes lush and weighty, almost to a fault. While the groove is undeniable and the chorus hook is effective, Ella’s understated vocal delivery occasionally struggles to cut through the busy arrangement, resulting in moments where the instrumental prowess slightly overshadows the lead voice.

“Wrong” scales things back in terms of the instrumental arrangement and benefits greatly from the restraint. The arrangement is sparser, allowing the rhythm section to shine - particularly the locked-in chemistry between bass and drums. Theo Deiana’s drumming is deep in the pocket, providing a rock-solid foundation. The chorus hook is strong once again, elevated by excellent backing vocals, and Bjornson’s bass continues to be the unsung hero of the album. The backing vocals really add to this track immensely.

On “Lights Out,” the band leans into a medium-tempo, soulful funk groove. Ella’s pop-inflected vocal phrasing works especially well here, complementing the song’s straightforward breakup narrative. Her voice comes across as youthful and pure, reinforcing the impression that she’s an emerging artist still growing into her full expressive range.

The 6/8 bluesy ballad “I Need to Know” slows things down further, featuring tasteful background saxophone work. While the composition is solid, this is one moment where Ella’s vocal approach feels too reserved. The song calls for more emotional urgency - something that’s less noticeable on the album’s funkier, upbeat tracks but becomes more apparent in a ballad setting.

Starting with a vibey "Little Mermaid-esque" accapella vocal line, “Sea” continues the waltz-time feel, adding the venerable Karley Parovsky on violin to create a chilled, atmospheric texture. While pleasant and well-produced, the track feels more like filler than a standout moment, lacking the memorable hooks found elsewhere on the record.

The album closes on a high note with “Waiting For Love,” an explosive funk-disco hybrid driven by an outrageous slap bass line and sharp horn hits. The arrangement is once again dense, but the energy carries it through. A standout guitar solo caps off what is consistently top-tier guitar work across the album.

Overall, Retrograde is an impressively executed record with strong songwriting, ambitious arrangements, and exceptional musicianship. Ella Forrest has a clear instinct for memorable hooks, a strong musical identity and... scat solos. Throughout, her voice sort of weaves in and out of each track like a moonwave dreamscape but, in general, it works. As her voice gains more urgency and emotional weight, she has the potential to rise fully above the already stellar arrangements that surround her.