The footwork producer has taken influences from across the map to make dance music that sounds like nothing else. Is Jerrilynn Patton the future of electronica?
Black Origami, the title of the new album by electronic warrior Jlin (real name Jerrilynn Patton), is a perfect analogy for her creative process. It always begins, she says, with nothing: no formula, no preconceptions, no sampled materials, just the blind urge to make. Origami, similarly, “starts out as a blank sheet of paper”, she explains. “Which you bend and fold, and then you end up with this beautiful, complex thing.” Jlin’s elegantly angular beat-constructions rather resemble origami’s blend of geometric planes and exquisite delicacy. “Taking simplicity and making it complex – I got that ideology from Coco Chanel,” she adds.
The album title is an extension of an earlier and equally apt analogy that Jlin made on her 2015 debut Dark Energy, with the track Black Ballet. The ballerina’s movements look effortless and weightless, but the audience never sees the blood-soaked wraps around her feet or the stress damage to her spinal discs; likewise, listeners are transported by the eerie levitational grace of Jlin’s music but don’t hear the hundreds of agonized hours of detail-work and fanatical focus embedded in each track.
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Continue reading...by Simon Reynolds via Electronic music | The Guardian
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