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Electronic - Released March 23, 2015 | Planet Mu Records Ltd.

Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Music
The music associated with Chicago's juke/footwork scene is fast, frenetic, complex, and often highly aggressive, as it is typically intended to soundtrack dance battles. The tracks produced by Jlin, a steel mill worker from nearby Gary, Indiana named Jerrilynn Patton, use footwork as a venue to express frustration, anger, and depression. The screams and horror movie samples ("You don't want to hurt anyone," "But I do, and I'm sorry") on tracks such as "Guantanamo" and "Abnormal Restriction" sound downright evil, and are a far cry from the more hedonistic, drug-glorifying tracks by artists such as DJ Rashad and DJ Spinn. While those artists' tracks are heavily populated with recognizable soul and hip-hop samples, Jlin builds her music from scratch, constructing all the percussion sounds and bass tones herself. Her production style is intense and gripping, but it never sounds cluttered, and it never breaks out into all-out chaos. Tense, thrilling, and a bit frightening, Dark Energy is simply one of the most compelling debut albums of 2015. © Paul Simpson /TiVo

Electronic - Released May 19, 2017 | Planet Mu Records Ltd.

Distinctions Pitchfork: Best New Music

Electronic - Released September 28, 2018 | Planet Mu Records Ltd.

Renowned British choreographer Wayne McGregor invited electronic musician Jlin (Jerrilynn Patton) to compose the score for his contemporary dance performance piece Autobiography after the two met in 2016. Patton had always wanted to attend a dance performance, but never dreamt that she would end up providing the music for one, and that it would be the first one she ever witnessed. Up until Autobiography, Jlin had become known for making highly frenetic tracks which focused almost entirely on percussion and bass, with barely any melodic elements and a limited number of vocal samples. As she states in the liner notes, working on Autobiography changed Patton's perspective on composition, and the majority of her music for the dance piece is vastly different than her prior work. Many of the tracks are amorphous pieces which completely avoid the aggressive, complex rhythms Patton had been known for, instead concocting spacious, meditative drones. Opener "First Overture (Spiritual Atom)" consists of swirling chimes and drops of water accented by flashes of suspenseful strings and reverberated slams, building up the listener's anticipation for what's to come. Both parts of "Anamnesis" are sparse and dreamlike, layering pensive melodies with birdsong and other natural sounds, floating freely rather than hitting forcefully. For that, there's "The Abyss of Doubt," which fits perfectly within Jlin's repertoire of harsh, frightening tracks like "Guantanamo" and "Abnormal Restriction," right down to the horror movie soundbytes and "Sounds of Jlin" drops. In between those two extremes, "Carbon 12" is graceful and certainly ballet-worthy, beginning with gentle vibraphone patterns and gaining carefully measured trap-adjacent beats and minimal, sparkling textures. "Permutation" and "Annotation" are sharp and buzzy, both seeming to draw from rave and EDM but sounding more cerebral than hedonistic. One of the album's biggest surprises is "Blue i," which marries soothing, atmospheric pads with sideways-swaying rhythms sculpted from African percussion instruments, sounding closer to mid-'90s ambient jungle than Chicago footwork. Coming from an artist who previously stated that she couldn't create music from a happy place, this is easily the most blissful and relaxed her work has ever sounded. Autobiography is unquestionably a vast step forward for Jlin, further confirming her status as a visionary artist. If it wasn't obvious already, following her long, illustrious career will be tremendously exciting. © Paul Simpson /TiVo

Miscellaneous - Released January 1, 2006 | Level2 Music Productions

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Dance - Released February 10, 2017 | Planet Mu Records Ltd.

Dark Lotus only contains two tracks, but it offers a tantalizing glimpse at what footwork producer Jlin had been up to following the 2015 release of her remarkable debut full-length, Dark Energy. "The Escape of the Blvck Rxbbit" is co-credited to Avril Stormy Unger, a Bangalore, India-based choreographer who has collaborated with Jlin for live performances. The collaboration demonstrates Jlin's interest in expanding beyond the footwork genre, which is typically created to soundtrack dance battles. The track contains the requisite bass kicks and jittery beats, but it seems delicate and fluid rather than the more aggressive tone to Dark Energy. "Nyakinyua Rise" is built from African percussion and tribal chants, and sounds utterly unlike any footwork track preceding it. © Paul Simpson /TiVo

Dance - Released November 27, 2015 | Planet Mu Records Ltd.

Free Fall is essentially a victory lap following the universal acclaim of Jlin's 2015 debut full-length, Dark Energy. While that album was an intense personal exploration using Chicago footwork as a basis, Free Fall seems like a relatively more straightforward set of tracks primed for the scene's infamous dance battles. The EP's four tracks seem more playful than the ones on Dark Energy, while remaining sinister and aggressive. The title of "Eu4ria" and the siren-like synths on "I Am the Queen" seem to nod to '90s rave music, but they're far more jittery and unnerving. "BuZilla" is Jlin's remix of a track by footwork innovator RP Boo, and while it sounds great, it's a lot closer to Boo's style. Jlin largely steers clear of recognizable samples in her work, so the Godzilla roars and awkwardly placed bit of Paul McCartney's "Live and Let Die" stick out. Still, Free Fall is a worthwhile release, and probably the most DJ-friendly entry in the Jlin catalog. © Paul Simpson /TiVo