Swine Daily readers may be familiar with jinnin’s music. We published an article about her experimental pop EP Sleet Comes Down in 2023. It was a 4-track EP by an emerging enigmatic voice, coming from Incheon, South Korea. „An artist called jinnin exudes unwavering confidence through her unique sonic identity, drawing from the nostalgia of 2000s Korean pop and the raw energy of internet underground music.“
We are back with the news about her 2-song EP. Goner is a unique mixture of alternative pop, lush electronic music, ambient, hyperpop and hip-hop/R’n’B. jinnin’s music perfectly fits into the Perpetual Care catalog and sonic vision. As the label described itself as: „redefining tangibility through fragmented sonic forms. Rooted in industrial music, it dissolves genre boundaries – exploring breaks, techno, ambient, hyperpop, and left-field pop to challenge mainstream ideology.“
These 2 tracks are powerful inventions and explorations of jinnin’s artistic voice and style. Her sound is a confrontation with trauma, a relentless excavation of buried memories, cycles of harm, and the violence absorbed, witnessed, and inflicted. There’s no illusion of catharsis here, no neat resolution – just the tension between destruction and the possibility of rebirth.
And the artwork itself is a perfect representation of this. The girl, a wounded warrior, crawling from her tomb, dodging arrows and axes, patches on her battle shield. It’s a digital drawing by Mitchel Peters aka @pmitcchh, I recommend browsing his Instagram.
„When I work, my imagination expands through the principle of metonymy. If you look at the lyrics of „Rip B“, the theme might seem a bit vague. That’s because when I try to frame a subject too clearly, it feels like my sincerity or the truths I want to express get restricted and don’t fully come through. I think that’s why my lyrics, and even my music in general, tend to resist being easily categorized,“ jinnin explained to us via e-mail.
jinnin / Photo by: YEON GENE SI @sgenynservice
Still, jinnin is wary of turning self-destruction into spectacle. She doesn’t see music as just a vessel for suffering but as a space where transformation can take root. Pain is not an aesthetic; it’s a threshold—one that doesn’t demand surrender but suggests the possibility of regeneration.
Repetition becomes a tool for both construction and destruction, a cyclical process of sonic self-annihilation and rebirth. There is no attempt to flee the weight of culpability; rather, jinnin dwells within it, meticulously sculpting a sonic sanctuary where meaning itself is malleable. Each layer of sound, each recurring motif, serves as a chisel, carving out a space for emotional reinterpretation and ultimately, a profound, resonant catharsis.
I asked jinnin about the inspiration behind this EP:
„Lately, I’ve been most inspired by Saramalacara. When I listen to her music, it feels like she’s dealing with the same thoughts I have. She’s one of the artists I’ve been listening to the most these days. Her sound is sweet yet carries a texture that feels digitally weathered, and there’s a nostalgic pull to it. Those three elements are things I always try to capture when making music. Her songs take me back to 2017 when I used to drink and scroll through Tumblr.“
About performing in Korea, jinnin told us that: „I don’t know much about the club scene in Korea. I’m more interested in performing, but it seems like there aren’t as many opportunities compared to club DJing. I’m more used to finding interesting things online. But I do enjoy connecting with the audience through live performances, so I take every chance I get.“
Hopefully, she will come to Europe one day!
Credits
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All tracks written, recorded, produced: jinnin
Additional Production: Water Clear
Mix: Joel Eel
Master: Gustav Brunn @ GG All In Audio
Art Direction: jinnin
Artwork: Mitchel Peters @pmitcchh
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﹝ You can follow jinnin on Instagram or SoundCloud + Perpetual Care here ﹞
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