Though not technically electronic music, Gary Wright’s Dream Weaver was the first time that I had ever heard the celestial sounds of the synthesizer and felt every electronic note in that song. Later I would find my mind blown by such musicians as Kraftwerk, Yellow Magic Orchestra, and M. By the 80s, electronic music had become an integral part of pop music from hip-hop (Soul Sonic Force), to funk (Newcleus), and beyond. Even Earth, Wind & Fire abandoned their iconic horn section in 1983 for their Electric Universe album. I became familiar with the machines recording artists were using in the studio like MIDI, Oberheim, and, of course, Moog. Gary Neuman, Art of Noise, and many others hooked me on electronic music. In the 90s, industrial music, techno, and electronica all turned out to be the kind of electronic world that I had been searching for my entire life with bands such as Ministry, Lords of Acid, Nine Inch Nails, Future Sound of London, and Skinny Puppy.

During the pandemic, having all the time in the world, I began exploring musicians who were, more or less, off the radar. That road would eventually lead me to hyperpop, glitch, and PC music. On this part of my electronic journey, I started listening to artists like SOPHIE, 100 gecs, That Kid, Ayesha Erotica, A.G. Cook, and our subject, JACKIE EXTREME.

Picking up on so many musicians was overwhelming and it was difficult to keep track of songs, albums, and musicians (two years later, I’m still trying to sort through them all). JACKIE was the exception. It seemed that no matter what playlist I was listening to, there was JACKIE staring back at me with her Mickey Mouse ears-styled hair puffs. Her avatar was what kept her music in my mind and her music made me a fan in the process. In my mind, JACKIE strikes me as an amalgamation of every type of electronic music I’ve ever heard. Her name is apropos because she has taken various elements of electronic music and different musical genres and has woven each thread together to create a sound that doesn’t just feel electronic, but electric. Even in her slower, “relaxed” songs, you can feel the immensity of what she’s created. JACKIE creates sounds that don’t seem possible, and that defy the laws of physics. This anonymous powerful gravimetric manifestation of sound and vision that is JACKIE EXTREME is one of the best aural experiences you’ll ever have.

Hello, JACKIE!

Hello. Thank you for allowing me to speak with you. Your interest is very much appreciated. I’m happy to answer any questions you may have about me and my work.

Legend has it that your non-corporeal energy emerged from a singularity back in 2019, a phenomenon that astrophysicists deemed impossible before that day. Does your place of origin have a name?

In the vast expanse of the USA, I exist as a lone entity, embracing an all-American lifestyle off the grid. Despite the geographical distance from opportunities and kindred creative spirits, this solitude serves as a catalyst, ensuring my creative vision remains unclouded and uniquely my own. The sense of isolation, rather than stifling, becomes the quiet forge where my individuality and creativity are honed.

What was your existence like prior to this one?

During my formative years, under the loving guidance of my grandmother, I experienced a relatively ordinary childhood. From the earliest recollections, I harbored a belief that my true calling resided in the world of film—a passion that took root when I unwrapped a camcorder as a Christmas gift at the tender age of 5. From that moment onward, the camera became an extension of my creative self, creating short films within the confines of my home.

As the Internet’s influence fully materialized, I seamlessly transitioned into the digital realm, uploading my exploits to YouTube. This venture not only cultivated a modest online following but also forged friendships that endure to this day. While my fingers danced on piano keys throughout my childhood, music served as a backdrop to my primary focus on filmmaking. The act of creation itself became my life’s passion, driven by an insatiable desire to curate experiences and provide entertainment.

As I reflect on those years, I maintain an aspiration to professionally immerse myself in the world of film, harboring the same fervor that ignited my creative journey from the outset.

Do you mind sharing what factors prompted your career in euphonious architecture?

While my heart was deeply entrenched in the world of filmmaking, my musical endeavors initially played a background role, a passion explored but not fully embraced. However, as my proficiency in music production blossomed, I began to recognize its power as a medium to articulate my worldview with the same precision as film. Before the advent of JACKIE, I experimented with various solo projects, each a step toward the culmination of my musical identity.

The genesis of JACKIE was humble, starting as a discreet side project. The approach was simple: I would upload a new track on SoundCloud every time the preceding one reached 100 listens. The initial weeks passed at a measured pace, with the first track taking its time to meet the set goal. Yet, as the echoes of my music resonated with an audience, the intervals between songs shortened, marking the organic growth of JACKIE.

My earlier musical creations delved into realms of darkness, exploring themes too intimate and inaccessible for the masses. It became clear that JACKIE offered a different avenue—a space where I could craft something more approachable while maintaining a subtle undercurrent of postmodern irony. It became a canvas for me to paint with sounds, inviting listeners to explore the fusion of accessibility and depth within the realm of my sonic creations.

You’ve chosen a virtual form which, I suppose, is to be expected of an entity that exists only as pure energy and thought. Still, you could have chosen to be like every other musician by wearing a suit of carbon-based, DNA-woven haberdashery. Why virtuality?

The evolution of JACKIE stemmed from a desire to break free from the melancholic and self-reflective nature that had begun to saturate my earlier music, creating an emotional detachment. Fatigued by seeing my name and face intimately tied to every musical piece, I yearned for an outlet to delve into facets of myself not necessarily grounded in reality. Thus, the persona of JACKIE emerged—a hyper-sexual, ultra-feminine, and unapologetically outspoken android woman with a punk, anti-establishment worldview. This character allowed me to explore a realm of fiction, shielding me from the weight of personal unhappiness seeping into the music.

Physically distancing myself from the project became a crucial aspect, providing the necessary focus on the music itself. It granted me meticulous control over how I was portrayed, allowing JACKIE to exist independently of my personal identity. The thematic exploration of virtuality and anonymity became a captivating narrative within the project. In an age where many hide behind avatars, delving into the nuances of this concept felt particularly relevant. The science fiction elements woven into JACKIE’s persona add an extra layer of intrigue, transforming it into not just a musical endeavor but a journey through a captivating virtual landscape.

There have been other virtual musicians in the past such as Kraftwerk and Gorillaz; did either inspire you to become anonymous?

While I hold a deep appreciation for those artists, my decision to embrace anonymity and portray myself through the digital character of JACKIE is primarily driven by a fascination with fictional personas. There's a unique creative freedom that comes with existing beyond the boundaries of our tangible reality. My love for storytelling played a pivotal role in crafting JACKIE, as I believe this project wouldn't have garnered the same reception without her inhabiting this digital liminal space. It allows for a narrative richness and artistic flexibility that transcends the constraints of the physical world, inviting listeners to embark on a journey that blurs the lines between reality and imagination.

Who are some of your musical influences?

I'm drawn to eclectic electronic groups with formidable female vocalists, like Crystal Castles, iamamiwhoami, and The Knife. What captivates me about these artists is their ability to keep listeners on their toes, unpredictably navigating through twists and turns with each album. The element of surprise and the unknown in their musical evolution truly resonates with me.

Additionally, my love for 80s new wave runs deep. The distinctiveness of the music from that era, where each artist carved out a sound entirely unique from the last, has been a profound influence. It's a spirit I aim to capture with every release of mine—to avoid the mundane and embrace a musical journey that diverges from the expected. Playing it safe feels intensely dull; I thrive on the excitement of pushing boundaries and delivering something fresh and unpredictable with each new musical endeavor.

The other night I listened to your MALE (The Pre-JACKIE Mixtape) and it was one of the most interesting projects I’ve ever heard, primarily because it became apparent to me that you could make any kind of music you want and that your knowledge of various musical styles is vast. How much time does that mixtape cover and what year (or years) was it all recorded?

Pinpointing specific dates for the album is a bit elusive, as the bulk of its creation unfolded between 2013 and 2018. However, scattered within its compilation are traces of even older tracks, adding layers of history to the project. This album stands as a raw compilation, a visceral journey through the evolution of my musical expression.

The decision to unearth these older works was driven by a desire to rectify neglect and offer them a chance to shine. While JACKIE consumed my creative focus, I couldn't bear to leave my other creations, rough around the edges as they may be, collecting dust. This release serves as a personal lens, allowing audiences to delve into the entirety of my musical journey, embracing both the refined and the unpolished facets of my creative exploration.

You called it an “experimental learning” experience. What did you come away with from that experience?

JACKIE marked a pivotal moment where I finally felt a profound sense of confidence in my creative endeavors. It was the first time I encountered genuine praise and criticism, validating my music as something authentically "real." The MALE mixtape, for me, epitomizes a period of experimentation—throwing diverse elements at the canvas and observing what resonates. The resulting collection showcases an eclectic array of genres, dynamic shifts in production styles, and a mix of pristine mastering alongside unintentional lo-fi textures, reminiscent of a 240p YouTube video converted to MP3.

Reflecting on the songs created during my formative years, it's akin to a musical schooling—a demo reel of unconventional, self-taught musicality. Amidst the variety, a crucial lesson emerged: the devil of music lies in the details. Crafting a profound track with captivating instrumentation is one thing, but true resonance comes from an unwavering commitment to refining the minutiae. It's an acknowledgment that, without meticulous attention to detail, your song is released into a vast sea of ears that may not find comfort in its auditory landscape.

You did one of the best covers ever recorded on your Present Time, Present Day EP, namely Bizarre Love Triangle originally recorded by New Order. What’s special to you about that song?

My mother was a DJ in Texas during the '80s, and she even shared a residence with Demi Moore—a fascinating side note to her vibrant past. Growing up, I absorbed the essence of her musical world through a massive record collection that echoed through our home. However, circumstances led me to be adopted by my grandmother, and shortly after our move, my mother sent me a box of cassette tapes she had carefully curated. These tapes were filled with songs she thought I'd enjoy, and among them, "Bizarre Love Triangle," specifically the 12" Shep Pettibone mix, became a constant companion. There's a magical quality to that song, an emotion so rare and a mix of euphoria and melancholy that resonates with me deeply—it's just a truly exceptional piece of music.

The thought of revisiting New Order and potentially covering "True Faith" down the line excites me. Alternatively, I might take a creative detour into Depeche Mode or explore the sounds of Cabaret Voltaire. The future is uncertain, but the prospect of immersing myself in the musical legacy of these iconic bands fills me with anticipation and creative inspiration. Who knows where this journey may lead?

There are a few musicians you’ve done collaborations with, some of my favorite musicians, namely AlexZone, CreepP, Melissa Brooks, and Boy Sim. What was it like working with them?

The evolving landscape of collaboration is fascinating, allowing for the creation of songs entirely virtually, without ever meeting in person. Constructing music in this way is a thrilling experience—I relish hearing my voice intertwined with someone else's instrumentation, and vice versa. Despite the absence of in-person interaction, I haven't encountered a single negative experience with any collaborator. However, I'm discerning about who earns a spot in the JACKIEverse, ensuring that each collaboration aligns seamlessly with the essence and vision of the project.

Coming from a place of infinite density, may I assume that’s why the bass in your songs is practically immeasurable?

In my musical realm, the core essence revolves around the emotions it invokes, and what better way to stir those feelings than by physically shaking the listener? The heartbeat of low frequencies acts as a pivotal key, unlocking the gate into the mind. Currently, I'm engrossed in crafting a song titled "crash," and I must say, it stands as one of the bassiest pieces in my repertoire—a true room shaker. The power and resonance of the low-frequency pulse are harnessed to create an immersive sonic experience, ensuring that the music not only resonates with the ears but reverberates through the very core of the listener.

Your music has an otherworldly sound that leads me to believe that you brought into our universe recording and production equipment not found anywhere else on Earth. What sort of tools enable you to compose such ferociously stylish and stimulating sounds, and how different is the environment in which you work from a typical recording studio?

Despite the maximalist sound of my music, I rely on a surprisingly minimalist setup—a simple digital workspace and fairly affordable recording devices. What sets my approach apart from traditional recording studios is that I create music in the same space where I play games and browse the web. For me, music production is an intimate journey that emanates from a sacredly personal part of the soul. I can't fathom crafting the music I want in an environment that isn't fully familiar and comfortable—it's essential for capturing the true essence and emotion that I aim to infuse into every note and beat.

Some of your songs (such as “Artificiality”) have a funky, runway strut sound that seemingly emulates the movement of thigh-high stilettos pounding against the floor. Pop music has always been about the image as much as the music, so would you call yourself fashionable? Do you like couture?

While I wouldn't claim to be the most fashionable person on the planet, I harbor a deep love for couture and ultra-weird, nearly unwearable runway fashion. For me, the body is as much a canvas as any traditional art form, and I firmly believe that wearable art represents the future of fashion. In my day-to-day life, my personal fashion sensibilities lean towards the mall goth style—a look I genuinely embrace.

Now, here's a twist to the illusion: all the fantastical runway fashion I reference in my music is, well, a bit of a fantasy. In reality, I'm allergic to latex, so the avant-garde latex creations featured in my musical world are more of a dream than a wearable reality. Whoops.

JACKIE EXTREME the avatar possesses a heightened sense of sexuality and intensity. Would you say there is a bifurcation between JACKIE and your (theoretical) physical manifestation, or do you share parallel character frequencies?

As mentioned earlier, JACKIE began as a fusion of characteristics I believed I lacked, a persona designed as a tool for personal growth. Embracing the fantastical and over-the-top traits assigned to her, I intended to repurpose these qualities in my own life. In the realm of my thoughts, there's an intricate intertwining of the person I am and the person I aspire to be—JACKIE. We're not just creatively linked; we're spiritually entwined, existing as one entity. It's a symbiotic relationship where, although I birthed JACKIE as my creation, she, in turn, played a role in shaping and creating me.

Why “extreme”? Where does the desire to push the boundaries of electronic music come from?

The name JACKIE EXTREME carries a bit of dry humor, a joke without a punchline, but a jest nonetheless. When I was conceptualizing the project and brainstorming names, I aimed for the first name of the character to be a very ordinary middle-aged woman's name, an unlikely pairing with noisy electronica. After running through names like Joyce, Karen, Janet, and Carol, I settled on Jackie. Initially, I thought of using just "JACKIE" as the project name, but it needed an extra edge. So, I paired it with "EXTREME" because Jackie is one of the least extreme names I could think of, and I knew right from the start that the music was going to be out there.

The choice of "EXTREME" reflects my love for shock value. I thrive on eliciting reactions from audiences with my audacious sound. Even if listeners take off their headphones 30 seconds into a song, wearing a confused expression, I feel a sense of accomplishment. The desire to create something "extreme" serves as both an exercise in standing out and an outlet for emotions that may not be widely accepted in our mundane lives. Music, as a blank canvas, offers the freedom to express absolutely anything—so why not kick and scream and throw whatever you've got at it?

In an internet forum (Pop Justice), someone referred to your music as “complete batshit”, is that a typical response to your songs?

Indeed, the general takeaway from my work often revolves around the striking juxtaposition of pitch-shifted squeaky femme vocals and operatics atop crunchy synthesizers and pounding electro drum kits, all intertwined with quirky synthpop melodies. This combination tends to elicit visceral responses from a broad audience. However, what I find truly beautiful is the discovery that among this diverse audience, there's a handful of dedicated fans. These individuals have delved into tracks that I hesitated to release, initially deeming them too off-the-wall. Yet, these fans have managed to peel back the layers of noise and batshit insanity, uncovering the hidden meaning I've embedded within the music. Their deep introspective responses add a layer of beauty and connection that transcends the surface-level chaos, showcasing the profound impact of music on an individual level.

What kind of music would you be making if you couldn’t do the kind of music you record now?

The idea of infusing my music with a more organic feel is something I've been yearning for. While I have a deep appreciation for electronic music, the thought of having access to orchestras and string quartets is immensely appealing. I believe I could craft something truly unique with the collaboration of classically trained musicians. Some of my tracks already delve into a more contemplative and airy ambient space, and I'm eager to explore this realm further with live instrumentation in a traditional sense. It's a direction I'd love to take to bring a fresh, nuanced perspective to my sound.

What other genres are you into?

I've been diving into this genre the kids call "phonk" lately. It's a bit elusive to define, and admittedly, many tracks sound quite similar, but there's an undeniable groove to it that puts me in a "let's do this" headspace. On the other end of the spectrum, I appreciate ambient music. Last summer, I strolled through the Institute of Contemporary Art, AirPods in, listening to a minimal ambient playlist I curated. There was a moment when I found myself sobbing—I can't quite articulate what I felt, but the music had this profound impact on my emotions. It's incredible how even the simplest sounds can evoke such strong feelings.

The aforementioned Kraftwerk and Gorillaz have performed “live” shows despite being virtual musicians, have you done this, or are there any plans to?

My journey into live performances started with two shows, one each year. The debut was at a Subculture Party in NYC, and honestly, it felt like every possible mishap unfolded that night. With no dressing room, I had to improvise getting into my complex outfit in the club's storage room. To add to the chaos, the zipper on my bodysuit broke, forcing me to wear it backward. As the music began, the visuals didn't sync, leading to a full restart of the set while I manually queued up visuals in the booth. The pitch shifting on my live vocals was erratic, creating a nightmare scenario. I felt like everything was out of my control, and it was a challenging experience.

The following summer, I performed at Elsewhere in Brooklyn, and things went much smoother. I opted not to bring visuals or perform live vocals, and I made sure to put on my outfit an hour in advance for good measure. What I took away from that first show is that I'm a perfectionist when it comes to realizing my vision. If it doesn't fully materialize, I tend to be hard on myself and lose sleep over it. While I have a clear vision for my future live shows, it's an ambitious concept that requires time to perfect. I won't subject myself to a string of failures like the debut again. To those who attended my first show in NYC, I hope you had a good time, and the messiness of it wasn't too apparent as I nervously stood on stage. That show still haunts me.

Some believe you to be a seraph or a god. Have you heard any of these rumors, and what do you think of those rumors if you have?

While I haven't thought of myself in grandiose terms, upon reflection, I realize there's a sense in which I am, in the humblest way possible. I've crafted this persona—a woman thrust into a world of control she doesn't fully understand. I've shaped her world with its trials and tribulations, charted the course of her life from inception to a foreseeable finish, and imbued her with traits molded after pieces of myself. If I'm seen as a God, it's only in the context of overseeing JACKIE and her existence within a world of my creation. She belongs to the realm I've constructed.

In the broader sense, I believe we all play Gods on the web. We plant the seeds of creation and control the narrative. The digital space allows for a certain artificiality—you create your own reality. It's a fascinating exploration of the power we wield as creators in this interconnected world.

As I bid you farewell, remember this: Embrace the power of authenticity. Just as I am a creation born from the depths of personal expression, let your true self shine. In a world where you wield the brush to paint your own canvas, be unapologetically you. Dive into the chaos of your own creation, find beauty in the imperfections, and let the echoes of your true essence reverberate. In the JACKIEverse and beyond, authenticity is the key to unlocking a world uniquely yours.

Until our paths cross again,

All images by JACKIE EXTREME. Find JACKIE on BandCamp, Spotify, and Apple Music. Follow JACKIE on Instagram, Twitch, and Twitter. Shop JACKIE merch.