Fans of J. Robbins’s previous bands, the best known of which is Jawbox, won’t be startled by most of the songs on “Basilisk,” the singer-guitarist’s inventive and lyrically erudite second solo album. In fact, the new record’s basic personnel are the same as one of those earlier groups, Office of Future Plans: Robbins, bassist Brooks Harlan, drummer Darren Zentek and cellist-guitarist Gordon Withers.
But as on his previous solo album, “Un-Becoming,” some of the songs were made entirely by Robbins, and electronic sounds counterbalance the traditional rock instruments.
The style “was going in two radically different directions at the same time, but it feels like the same creative impulse in a way,” says Robbins in a phone interview.
“It’s the same energy,” he adds. “I wanted to see how well I could incorporate the extremes and still have it feel like one record.”
Robbins began his career as the bassist of Government Issue, which had the longest run, most eclectic style and least stable lineup of any 1980s D.C. hardcore-punk band. (Robbins joined toward the end of the group’s 1980-1989 course.) Next came Jawbox, also based in D.C., from 1989 to 1997. Since 2012, Robbins has operated the Magpie Cage, a Baltimore recording studio where he’s produced music by dozens of acts.
“It’s had a huge effect. It’s this constant source of nourishment and inspiration,” says Robbins of his production work. “For me to be there as a midwife is incredibly energizing.”
In particular, he cites the influence of working with Locrian, a Chicago drone-metal trio that employs a style of sampling known as granular synthesis. Robbins uses the technique in his solo music to disrupt his established style. “I have my habits as a player and as a writer,” he acknowledges. “So finding a way to make things unfamiliar again is really important.”
Another way to do that is by playing with varying casts of musicians. When Robbins performs this weekend at Comet Ping Pong, he’ll be accompanied by only one of the players heard on “Basilisk,” Withers. Matt Dowling will be on bass, and drums will be handled by longtime collaborator Pete Moffett (who played with Robbins in Government Issue and Burning Airlines).
When switching to a solo career, the musician explains, “part of the idea is that I wanted to be able to play with different groups of people if the opportunity arose, or if that seemed like a cool thing to do.”
Robbins notes that “Dead Eyed God,” the last song on “Basilisk,” sounds quite different with Moffett rather than Zentek on drums. “That’s a really wonderful position to be in. To have something mutate, and have some confidence that the core of it is still true.”
If keeping things fresh is a more recent concern, Robbins remains as motivated as when he joined Government Issue as a teenager. “When you’re young, you have this idea that people slow down as they get older,” he says. “And while that might be true in certain respects, I feel that in getting older, there’s an ever-increasing sense of urgency. Like I’ve got to do more, and be more present, and be more engaged. Because time is finite.”
Feb. 24 at 10 p.m. at Comet Ping Pong, 5037 Connecticut Ave. NW. cometpingpong.com/livemusic. $15.
