Opening with exotic strings, JLin’s new album might initially confound fans. And then the cogs start moving in the background.
A familiarity with the footwork of Indiana’s Jerrilynn Patton may lead the listener to expect the curtain to be pulled back and the machine to be unveiled at any moment, with a relentless gushing waterfall of beats, Year 2150 laser-cut sound effects and ominous vocal samples.But it resists this temptation, initially.
Black Origami draws from a similar palette of sounds to her outstanding debut Dark Energy, dragged and dropped into a footwork template.
But it feels decidedly more organic, unfurls more effortlessly and will likely hold more longevity.Patton may have swapped the Mortal Kombat samples for Kill Billsound bites, but the gyrating tempos, power through repetition and agile, nimble melodies slipping through the asteroid field of rim-shots and snares remain.
It’s as exceptional as ever.Black Origami is certainly a more stripped back, subdued effort. Sections threaten to boil over into full blown head-bangers, but they teeter on a precipice and instead move on to something new.
Tracks play out like pieces of jazz, with the feel of a conversation back and forth between two instrument sections, often before going haywire.
Vocal samples chime in full and edited forms, often repeated rapid fire into a nauseating swirl.And while perhaps not as dance oriented as Dark Energy, Patton saves a banger for last: Never Created NeverDestroyed is a dance-floor bomb with what feels like a 10-tonne bass.
Ultimately, Black Origami is a more hypnotic and diverse record which packs a more human element.
Percussion here sounds as if it’s composed live, created with human hands, not programmed on a laptop.
Out of a boiling concoction of air-raid horns, underwater bubbling synths and countless voices emerges a smart, flowing footwork record with plentiful replay value.
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