Chad Bowar: Had you worked with Justin K. Broadrick before?
Jarboe: We worked on his last EP, where I read the words and sang the vocal on the song “Storm Coming On.” Before that in 2005 I did a show in London and he was one of the artists that did the show with me. I was brazen enough to ask if he would do the live sound mix for me that night, and he did. He put a lot of delays and holds and things on the mix of the sound, and it was so incredible. It was really a special show for the audience because of his artistry and skills going into the sound. I was very excited with what he did.
How did the J2 project come about?
Originally we discussed Justin producing the album that I have been recording here in New York. It was just scheduling difficulties with his tours that shifted it to where we decided we’d either wait until he could get to it with his touring schedule, or try to do something before he went on tour. So we decided to work together in the way we did, to see what would happen. It was a good way to initially work together. What it resulted in was a file exchange, an internet collaboration in which I sent him files of things I had done at home in terms of keyboards and vocals. Then he would download it, play guitar, add things, manipulate it and then send it back. That was the way we worked. It was exciting and fun.
How long did that process take before the songs were completed?
I don’t even know. I can’t remember because there was so much going on then. I do remember the Lifeline EP. I had a real hardcore deadline. I believe from the time I got the track I had to turn it around in no more than three days. It was interesting to hear music that I had never heard before, come up with what the song was about, write the words and then perform the words. That was interesting. I like that pressure.
How did you decide on The End Records to release the J2 EP?
A friend’s band was to perform in New York. I wanted to do a show with them. I was their support. The label was present, and it was a turn of events where the head of the label saw me, and before I knew it there was interest there. They came to me. I signed a contract with The End with my solo album as well.
How is the solo album coming along?
It’s been great. I had done all this on my own and wanted to bring an organic sound by using real musicians instead of doing it all myself on keyboards. So I wanted to come here to New York and look for a variety of people from different worlds of music and bring them all together and see what results. It’s been really exciting to work with such a tapestry of talent. Colin Marston has been engineering, and he also performs on the album. He and Kevin Hufnagel have a variety of bands, including Disrhythmia. Colin also has a band called Behold The Arctopus. These guys are very trained, very educated musicians and extremely disciplined. Then I wanted to use a Swans drummer, so Vinnie Signorelli played drums. It’s been interesting working with friends. And in keeping with guests and guest appearances, I also have two very special guests on this album. One is Attilla (Csihar) from Mayhem. He’s doing some vocals with me on a track. It’s very intense. The other guest artist is Phil Anselmo from Down and Pantera. He and I had some wonderful phone conversations and talked about where he wanted the song to go. In that case it was very unexpected, because we used a cello, his voice, and a very sensitive acoustic guitar. It’s a very pure, almost raw, emotional song. It’s one of the highlights.
Is there a release date for the album?
The End has told me they’re looking at June.
How did you hook up with Attila from Mayhem?
It’s interesting when you meet artists that have been working for a long time in a different world or different style and then when you meet them they say they are admirers of your work. This was the case. You don’t really know who is listening to know and who knows your work. I consider it a gift you receive. That’s basically what happened. There was a level of familiarity there. With Attila I was aware of Mayhem. There was that bridge that he reaches. He’s done different things, not just one musical approach. In the case of Phil, he is also very interested in exploring different worlds and what he can do. He’s a very talented vocalist, and I think in this case it was a matter of me offering something that he perhaps hadn’t done that is different for him. That’s the way it is when you do music for a long time. You want to be challenged and do something that’s not familiar.
You’ve collaborated with quite a few metal artists over the years. What is it about metal that draws you to it?
That’s kind of a psychological dissection or breakdown of who I am and what had an impact on me and my whole life. From the very beginning I’ve been influenced by and drawn to heavy music and the intensity of it. I think it brings out a raw emotion that is inside me. It resonates in me. It’s just intense passion. You can’t really articulate it in your daily life. You can only articulate it in your mind and your heart. It’s definitely an emotional alignment and a passion. That’s what I’m drawn to.