In a recent interview, Jlin (AKA Jerilynn Patton) says that one of the things she’s learned about herself since she started making electronic music is that she “can make time and space disappear.” It’s the kind of bold and impetuous statement we might expect from a young musician whose two albums—2015’s Dark Energy and this year’s Black Origami—have received ample praise from critics and her fellow creatives.
But there’s also truth in Patton’s claim. Her work, which expands upon the rapid-fire dance music of Chicago’s footwork scene, is meant to help you lose track of temporality and rationality. Hypnotic swells of percussion and palpitating bass are shaded with agitated, cut-up vocal samples and little splashes of clarity. It’s great for either the quick steps of footwork or, inspired by her recent collaborations with Avril Stormy Unger, the spiritual movement of Indian dance. There’s also an undeniable sensuality that charges through Patton’s music, which could provide a fine soundtrack to one’s intimate relations.
The best place to experience her disappearing act is in a live setting—with a great sound system bending to Patton’s will and her joyful, charismatic presence, there’s no better way to disconnect from reality, if only for a little while.