Jlin’s detailed and meticulous exploration of rhythm’s inner and outer reaches has made her one of the most distinctive and recognisable voices within both the electronic and new music worlds. Her compositions are consistently appealing and have an accessibility to them, yet often defy expectations. She exists within her own locus solus - no matter the collaborator, no matter where sounds ultimately lead her. Whatever the situation – from composing the Pulitzer Prize shortlisted ‘Perspective’ for Third Coast Percussion, to ‘Godmother’ her AI-powered collaboration with Holly Herndon, Jlin always expresses her outlook to the fullest.
Her new album ‘Akoma’ sets a new benchmark in her personal road map, not only since the album features guest appearances from Björk, Philip Glass and Kronos Quartet but for her continued sonic persistence and resistance. Jlin does what Jlin does and it’s beloved across genres, across scenes and across generations. ‘Akoma’ is a new entry point into her sound and a new approach for both those who have been following diligently and those who are just now entering her world.
So how did she get here? Here’s a rundown for those looking for the facts. She was both a math nerd and a steel factory worker. She got inspired by Footwork and started making tracks with mentorship assistance from RP Boo and DJ Rashad, but her music was far from typical for footwork from the get-go. In 2011, she released her first track ‘Erotic Heat’ on the Planet Mu anthology ‘Bangs & Works Vol.2.’ Fashion designer Rick Owens heard it and invited her to soundtrack his Paris Fashion Week show. Already before an EP or an album Jlin was in new cutting-edge territory. And it hasn’t stopped since. Everyday Jlin wakes up early and clocks into her home studio working hard on new music. Her discipline and craft-like approach means that those who would try to copy her sound simply can’t get to the level she is at. Since ‘Erotic Heat’ she has released two bold albums, 2015’s ‘Dark Energy’ and 2017’s ‘Black Origami.’ She has also released her soundtrack to Company Wayne McGregor’s dance piece ‘Autobiography’ (2018) and most recently (2023) the mini-album ‘Perspective.’ She’s remixed µ-Ziq, Factory Floor, Ben Frost, Max Richter, Björk, Martin Gore and others. She’s collaborated with Holly Herndon and the late SOPHIE. She’s worked with visual artists Kevin Beasley and Nick Cave. She composed a string quartet for Kronos Quartet and performed with them live in a tribute to Philip Glass. She also recently completed a tribute to Sun Ra with Kronos. ‘Perspective’, her very well received percussion work for Third Coast Percussion has further opened doors for her creating music for chamber ensembles. She’s even thinking of one day writing an opera. She had a residency at MassMoca museum earlier this year (2023). She’s performed live at Pitchfork Festival, Unsound Festival and too many others to mention. She’s also worked with an HBCU Marching Band, Indian dancers, Company Wayne McGregor and renowned choreographer/MacArthur Fellow Kyle Abraham. There’s more but you get the picture - she’s working in contexts and in ways that few of her peers are able to.
‘Akoma’ is the next step - all these paths have led to this. We encourage you to tune in. se paths have led to this. We encourage you to tune in.
released March 22, 2024
Track 1 written and performed by Jlin and Björk and published by Decca. Tracks 2-8 & 10 written, performed and produced by Jlin and published by Decca. Track 9 written by Jlin and Philip Glass and performed by Jlin and Kronos Quartet and published by Decca and Dunvagen Music. Track 11 written and performed by Jlin and Philip Glass and published by Decca and Dunvagen Music.
Björk appears by kind permission of One Little Independent.
Philip Glass appears by kind permission of Dunvagen Music.
Mastered by Beau Thomas at Ten Eight Seven Mastering.
Art, Sculpture and Design by Florence To.
The music and visual design for Akoma was commissioning by Pomegranate Arts. Management for Jlin: Pomegranate Arts
www.pomegranatearts.com
From the deepest chambers of my heart, I extend my profound gratitude to all who touched this album and my journey.
To my bedrock, my grandmother, Ruth Delores Rouse, your spirit and guidance enveloped me through every note. Donna Patton, my guiding star and mother, whose strength and grace breathe in my sound and who instilled in me the rhythm of life and love. Jerry Patton, my father who loves his “little girl”.
Special thanks to Linda Brumbach and Alisa Regas – your belief in me has been unyielding. To the Pomegranate Arts Team, thank you for illuminating the path. Planet Mu Records, your support is invaluable and solid. My publicist Gamall Awad who relentlessly makes sure I have everything I need.
To all the incredible collaborators on this record, your brilliance shines through every sound. Philip Glass, your mastery left an indelible mark; Bjork, your genius uniqueness inspired unparalleled creativity; Kronos Quartet, for your constant drive and virtuosity; Florence To, for your ethics in family, honesty, vision and understanding.
The inspirations for this album were diverse and profound. The electric energy of the HBCU Marching Bands; the artistry of Philip Glass and Third Coast Percussion; the mentorship of Elaine Martone; the genius of Kyle Abraham; and the enduring influence of legends Eartha Kitt and Nina Simone – among countless others.
Stanford University and UCLA, your support is so appreciated and beyond kind. To the tools that helped shape "Akoma" - FL Studio, Spitfire Audio, Native Instruments, and Ableton, you transformed my ideas into sonic realities. Mass MoCA, thank you for being the canvas for my artistic expression.
In the journey of "Akoma", every individual and entity mentioned played a distinct and cherished role. To you all, thank you for being part of this symphony of love and passion.
