- Jerrilynn Patton’s rise from an Indiana steel worker to the face of modern footwork is one of many electronic music success stories. The last decade has seen her gathering momentum through a sparse release cycle, leading up to last year’s Black Origami on Planet Mu. Her dance-floor focused take on the darker side of footwork helped to affirm the genre’s place in contemporary electronic circles.
Autobiography sees Jlin collaborating with British choreographer Wayne McGregor, to soundtrack a ballet. While at first this might seem a strange pairing, dance sensibilities are inherent to footwork, making the link between sonic and visual elements far more tangible. As someone who strongly dislikes ballet, even I would run to see this.
On this record however, she seems more intent than ever on outgrowing her Chicago influences. Many moments sound like strange fusions of hip-hop or contemporary dance styles, held within a footwork structure. Kundalini sees her return to Indian themes, while Blue i utilizes African percussion and vocals.
Musically, Autobiography isn’t so much a departure from Jlin’s previous styles, as a considered refinement. While the incessant sample-work of Black Origami is still present, each element feels far more deliberate. Many songs feature a restricted sound palette pushed to its’ limits, cutting through layers of rhythmic complexity with pointed precision. Simply put, she’s doing more with less.
Lead single The Abyss of Doubt matches an oscillating synthesizer with garish vocal samples to craft an atmosphere that’s as oppressive as it is detailed. This dark tone is continued on Mutation, further deconstructing itself while maintaining a skeletal framework. These moments of sublime simplicity show Jlin’s improved skill as a young producer, pushing her craft toward something greater.
While Autobiography boasts a roster of fantastic tracks, its attempts at conceptuality feel rather inconsequential without the accompanying visual material. Although I can appreciate Jlin’s attempts to disrupt the potential homogeneity of a full-length, I feel this handful of interlude cuts contribute very little to the record overall.
Though, none of that stops me from appreciating Autobiography whole, as a fantastic modern electronic release. It’s clear that Jlin still has a lot of room to grow as an artist, but the way she’s progressed so far is great. This isn’t billed as an official follow-up to Black Origami, so don’t expect a drastic shift in sound, but the direction Jlin’s going is worth your attention.
- Boddhi Farmer.