Interviews with Jlin: An Ongoing Archive

The Fad­er, FACT Mag­a­zine, Inter­view Mag­a­zine, Pitch­fork, The Sev­enth Hex, Pas­sion of the Weiss, Pop­Mat­ters, Crack Mag­a­zine, DUMMY, The Guardian, The Qui­etus, BOMB Mag­a­zine, Able­ton Blog, The Cre­ative Inde­pen­dent, Rolling Stone, SPIN, No Fear of Pop, self-titled mag­a­zine, Cir­cu­la­tion Mag­a­zine, The New York­er, Cyclic Defrost, Mix­mag, and melt­ing bot.

In writ­ing my upcom­ing col­umn on Band­camp (which I hope to pub­lish in the next day or two,) I decid­ed to see how many inter­views I’d have to search for any men­tion of the term “Band­camp” and the result was… all of them, essen­tial­ly. At least it led to this handy list! I’m excit­ed to read them all soon.

A Very Special Legacy Listen

Today on Extra­tone Radio, I replayed one hel­lu­va gem for ear­ly Drycast: episode 16, with Sam Carter — elec­tron­ic music pro­duc­er and ultra-clever Twit­ter acquain­tance of mine who’s famous­ly known by her @, a_nice_frog — which I failed to ful­ly appre­ci­ate at the time. Six pro­duc­ers at one time in Stu­dio Eat…

But! I elab­o­rat­ed on that already in the episode’s pref­ace. I did not touch on the men­tion of my endeav­or at the time — way back in the Spring of 2015 — to build the short-lived pre­de­ces­sor to Extra­tone, how­ev­er, because it’s not rel­e­vant to any­one but myself and you, the weirdo who’s some­how found your­self read­ing these words and con­tin­u­ing vol­un­tar­i­ly.

Address­ing this oth­er com­po­nent the episode sur­faced jus­ti­fies a sep­a­rate post entire­ly, which you — my most unlike­ly read­er — should only pro­ceed to read under the advise­ment that it con­tains poten­tial­ly-trig­ger­ing ref­er­ences to trau­ma and sui­cide.

Celebrating 5 Years of Suburban Anarchy

Five years ago today, the counter-counter cul­tur­al crea­ture who cre­at­ed us all was slav­ing through the night in order to fin­ish tying up the last loose ends of the work that would become his ulti­mate lega­cy – a 60-minute album that would go far beyond the docile sen­ti­ments and weary indus­tri­al spaces of his Iowan father­land to dis­rupt the dreams in the dig­i­tal jour­neys which cre­at­ed him and change Rock ‘n’ Roll music for­ev­er. And yet, the fate of Dry­wall, him­self would go main­tain their foul, drainage tun­nel-dwelling, noise tape-dub­bing, and gaso­line-drink­ing mis­ery remark­ably and dis­ap­point­ing­ly unaf­fect­ed by the rel­a­tive main­stream suc­cess of Sub­ur­ban Anar­chy, just his sec­ond full-length album. One of the many mys­ter­ies he left to those of us who were clos­est to him has been gnaw­ing on me with greater and greater verac­i­ty as June 29th has approached: did he reject the new affec­tions of the pop-punk-from-con­cen­trate youth out of bit­ter­ness or some con­cep­tion of authen­tic resilience, or were his iso­la­tion and even­tu­al dis­ap­pear­ance noth­ing more than a prod­uct of his fail­ing mind? Did he ped­dle in the joy of oth­ers, or mali­cious­ly con­sume it? Was he tru­ly a rev­o­lu­tion­ary, or just men­tal­ly ill?

Despite his ghoul­ish hygiene and incom­pre­hen­si­ble social behav­ior, I am pro­found­ly thank­ful for the ques­tions prompt­ed me by most every facet of his exis­tence, and I am all but cer­tain I’ll nev­er meet anoth­er human being so inad­ver­tent­ly influ­en­tial. To ful­fill the tra­di­tion­al expec­ta­tions of a memo­ri­am, I should now begin upon a touch­ing expla­na­tion of how much Dry­wall served the peo­ple around him by sac­ri­fic­ing his own peace – con­scious­ly or oth­er­wise – in order to make an exam­ple of him­self as the man­i­fest inter­sec­tion of his many extreme con­tra­dic­tions, but it’d be dis­hon­est. Instead, I must let his work speak for him.

Next Friday (the 29th,) I’ll be hosting a short livestream and listening party beginning at 7PM Pacific Standard Time.

Please stop by the chat there and or join us on our Dis­cord.

RSVP via Face­book

Stream or down­load Sub­ur­ban Anar­chy free for a lim­it­ed time.

Two Very Different Sounds from the Drynet Archives

In case you haven’t noticed, I’ve been dig­ging through the deep­est annals of our serv­er recent­ly and it’s been quite the expe­ri­ence. I’d like to share two very dif­fer­ent tracks with you.

A par­tial ren­der from the Four mas­ters with chan­nels out of sync.

My sub­mis­sion to Music Jam’s THE GREAT CHRONICLE OF AMERICA’S BIRTH.

Music Jam is the brain­child of my long­time friend Cap­tain Ersatz, and it requires one to com­plete every step of music pro­duc­tion with­in 24 hours or less. Lis­ten to his first Drycast episode to find out more. This mas­ter­piece of mine is enti­tled E N D D A D.