![Inside Jaenga’s Sonic Diary: Dream Machine [Exclusive Interview]](https://theelectrichawk.com/wp-content/uploads/2025/08/Dream-Machine-COVER_june-17-v1.png)
Every Jaenga release feels like stepping into a new world, but Dream Machine might be his most vivid yet. Blending bass music with a filmmaker’s eye for detail, this album doesn’t just feel otherworldly…it feels like you’ve been dropped into a lucid dream with the gravity set to zero.
Dream Machine is rooted in connection, storytelling, and personal reflection. Marking his first full-length album release, each track plays like a sonic diary capturing snapshots of emotion, growth, and everything in between.
Before the release on August 8th (808), we caught up with Patrick “Pat” McDevitt to talk about how the Jaenga project came together, the spark that transformed into Dream Machine, and what fans can expect on tour.
Listen to Dream Machine while you read the interview:
A Moment with Jaenga:
Kaylee Leitzel, Electric Hawk: Where did the name “Jaenga” come from?
Patrick “Pat” McDevitt: Jaenga actually started as a joke when I was on tour in New Zealand with Mt. Eden. They’re one of the OG dubstep acts, and I used to be their videographer when I was younger. Jesse [Cooper] invited me out for their Sky Is Gold tour, and between shows, we’d kill time by playing Jenga. We ended up joking that “DJ Jenga” would be a cool name.
I never told anyone I was making music back then – only one friend I was traveling with knew. I didn’t want it to seem like I was riding anyone’s coattails. So I just kept the name in my back pocket and focused on filmmaking.
KL: Do you still play Jenga? Bring it backstage, put it on your rider, or anything?
Pat: I do, yeah! I actually challenged all of Denver for the second year in a row to play me in Jenga. And this year, someone finally beat me…
KL: You started your creative journey in filmmaking – what was the spark that made you want to start the Jaenga project and pursue music full time?
Pat: I was in a metal band in high school – I played guitar, and we were playing shows in New York. But the vibe just wasn’t what I thought it would be. I had this image in my head from everything I’d read and watched, hoping for something that felt like the ‘70s or ‘80s. You know, that raw energy, the scene, the connection. But it wasn’t there.
One night after band practice, I stopped by Webster Hall to see my friend Gerard McNamey, who was the GM at the time. He invited me in—there was a show happening, and it was Nero. The moment I walked in, my mind was completely blown.
It felt like I’d been chasing ghosts my whole life until that moment. That was the first time I realized: this is where my generation is. And I had totally missed it. Everyone was wearing bright colors, the energy was pure joy, and there was a real sense of community. It completely shifted my perspective.
KL: When did you start producing and DJing yourself?
Pat: I’ve been messing around with electronic music since sixth grade. But at the time, I didn’t know what genres were, I just liked weird sounds. When I listen back to that stuff now, it sounds like psytrance, which was probably the only kind of electronic music I had any exposure to back then.
KL: Since you started your creative journey, is there a core value that’s really stuck with you, or something you want to consistently communicate through the Jaenga project?
Pat: I think my purpose has always been to bring people together. That drive’s been in me for a long time, but it’s only in the past few years that it’s really become clear. That’s what it’s all about for me: creating connection.
KL: Is there a message you’re trying to share through your music or films? Not so much a mission, but more like something you hope people take away from it all?
Pat: Yeah, it’s that you don’t need anyone’s permission to start living your life. Don’t let people dangle a carrot in front of you. Just go and do it. It’s not about having all the resources; it’s about being resourceful.
Sometimes all you need is a few good friends and your creativity. Especially now, in 2025, we have everything we need. A laptop and a phone with a camera, and you can build a career.
KL: You have some of the most unique promo videos out there. What do you enjoy most about making those?
Pat: I just love telling stories. It’s so much fun. Honestly, it’s like being a kid building a Lego castle, but now, the castle is made of film, and I get to share it with people and hope they like what I built.
KL: That’s such a good metaphor. One thing I’ve heard around the industry is, “My agent wants me to make content, but I’m not a content creator.” There’s a real reluctance to do it, but you made a video about that. It was funny and creative.
Pat: I always tell people, “learn to love it”. When someone says, “I don’t want to make content,” it sounds like a death sentence to me. Like they’re giving up before they’ve even started.
But here’s the thing: you scroll Instagram or TikTok, and you heart stuff. You save it. You never go back to look at it, but you saved it because it meant something to you. So don’t tell me you don’t like content. You do.
If something resonates with you—recreate it. Make your own version. If you just try to copy everyone else, or obsess over numbers, you’ll burn out. But if you treat it like playing with Legos—find the castle you want to build, and build it—that’s when it becomes fun.
KL: What inspires you to create the most? Is it something instinctual, like a sixth sense, or do you have to consciously get yourself into the zone?
Pat: The more life I live, the easier it is to write music. I can’t fully explain it, but the music I make feels like sonic diary entries. Each track is tied to a chapter of my life.
A lot of the time, the ideas were born years ago, and I’m only now able to get them out of my system and translate them into something people can hear.
KL: Do you have any backstage rituals? Maybe something unique or unexpected you do before a show?
Pat: It’s always a bit of a gamble, but I try to have the best time possible in whatever city I’m in before I play. I’ve noticed that the energy I have before the show is directly connected to the energy on stage.
If I get to fly in with friends or meet up with people in that city, it makes a huge difference. So I’m always trying to enjoy myself before the show—and of course, during it too. No doubt.
KL: What was the first idea that sparked Dream Machine? What made you decide, “This is going to be my first album”?
Pat: The name Dream Machine is a metaphor for this old school bus I bought years ago. I traveled across the States in it with a bunch of friends, making memories and throwing renegade shows.
The album itself had been “in the oven,” so to speak, for years. I kind of forgot about the idea of putting out a full album until the timer randomly went off a few months ago. That’s when it hit me: maybe it’s time.
So I sat down and made it. It took about three months to write.
KL: Were all the songs completely written in those three months? Or did you pull anything from earlier work?
Pat: All the songs were written during those three months, but the ideas had been simmering in my mind for a long time. It’s not like I remember melodies or anything, but the life experiences I’ve had come out in the form of music once you write a few notes, if that makes any sense…
Like I mentioned before, a lot of my music feels like sonic diary entries—chapters from my life. The writing may happen all at once, but the stories have been building over the years.
KL: I’m curious to know more about the bus — when did you get it, what was the purpose behind it, and why choose a school bus specifically?
Pat: At the time, I think I was relying too much on someone to “discover” me. I’d watch my life pass by, and none of the dreams I had—playing shows, meeting people, sharing my music—were actually happening.
When I was 24, I had this moment of clarity: I needed to stop waiting for permission and just do the damn thing. So I bought a school bus. I figured it was the best way to get out there, meet people, release music, and play shows on my own terms.
KL: Do you still have the bus?
Pat: No, I don’t. Some random guy in Pennsylvania has it now.
KL: Maybe he’ll read this article.
Pat: [laughs] Yeah, maybe
KL: Do any of the songs on Dream Machine have a personal backstory? Something that really sparked a specific track?
Pat: I think when we look back on our lives, we forget about 98% of it. These songs are the 2%. They come from the best and worst moments I’ve ever experienced. Every song is a snapshot of a specific moment—whether it was achieving a dream I’d held onto for years, or going through the worst heartbreak of my life.
But as for the details of those moments, I’d rather keep them to myself. I think people will resonate with the songs in their own way, and I don’t want to take that away by linking my exact story to them.
KL: How did you balance your visual and film instincts with your musical decisions while making the album? Was there any visual storytelling behind it?
Pat: I’m drawn to cinema because it’s the most beautiful way to showcase life. And for me, the best way to reflect on my own life is through the eyes of a lens like I’m watching a movie. So when I’m writing music, I imagine those moments like scenes in a film. Then I ask myself: If this were a movie, what would the score sound like? That’s how I like to approach it.
KL: The tour kicks off August 1st—is there anything you’re especially excited about for these shows?
Pat: Definitely the all-new immersive visuals. I’ve spent months creating them.
KL: You do all your own visuals?
Pat: Yeah. I also design all my album artwork, flyers, and merchandise – almost everything. I won’t take full credit, though—if I really click with someone creatively, I’ll bring them in to collaborate on a design. But most of it comes directly from me.
But yeah, back to your question—the new visuals are a huge part of what I’m excited about. Some shows will have full immersive production, and we’ve also got a wild support roster. It’s going to be a great run.
KL: You’ve built such a strong community—do they have a name? Like a nickname or something they go by? For example, at Electric Hawk, we call our community the “Hawkies.”
Pat: No official name like that, but we do have the Facebook group—it’s called The Jaenga Block.
And then there’s the Jaenga Safety Crew. They’re at every pop-up, making sure everyone’s safe, has earplugs, and stays hydrated. If anyone needs help, they can always go up to someone wearing a purple vest. They’re rockstars.
KL: At Cervantes, you transformed the whole venue into an underground warehouse vibe with graffiti-covered columns and speaker walls. It was pretty incredible. Do you have anything like that planned for any of the shows on this tour?
Pat: I can’t say too much because it hasn’t been announced yet…but yes. We’re going off the deep end with select shows when it comes to stage builds and production.
KL: You’ve done surprise events in the past, and I know this might be a “can’t say yet” situation—but is there anything planned during the tour that hasn’t been announced?
Pat: I can’t say too much… but I’ll say this: keep your eyes on the hotline.
KL: Let’s talk about the hotline then…how do people join? Can we share the number in the article?
Pat: Actually, no. I don’t give the number out publicly. That’s kind of the whole point. If you want to be on the hotline, you’ve got to know someone who’s already on it. It’s word-of-mouth only.
I get asked all the time, but I think that mystery is part of what makes it special. It keeps the community tight and intentional. So yeah—no links, no sign-up forms. Just find a friend who’s already in, get an invite, and come hang.
KL: The purple bus has kind of become iconic to the Jaenga project. What kind of people do you hope it draws in—and what do you hope it changes in them? Thinking of it metaphorically, I guess.
Pat: I hope that one day, people can look back on their lives and remember that one amazing night—maybe it’s where they met their best friend or their life partner. I want the bus, and everything it represents, to serve as a reminder that you never have to wait to start living your life.
We only get one life, you know? You’ve got to do exactly what it is you want to do.
People are so stressed about “making it,” about not getting enough attention or not earning enough money. And I always think—just pause. Ask yourself what you really want.
Maybe you’re not getting what you want because you’re chasing the wrong thing, maybe you’re not supposed to make money through music, maybe you’re not supposed to seek attention by exploiting something spiritual… So really…what do you want?
Because maybe the thing that’s stressing you out… isn’t even what you’re meant to be chasing.
Hoping to experience the Dream Machine live?
Part 1 of the Dream Machine tour kicked off on August 1st. Planning on catching one of the stops?
- AUGUST 14 – Nowhere (Fort Lauderdale, FL)
- AUGUST 15 – Deep Ellum Art Co (Dallas, TX)
- AUGUST 16 – Valcan Gas Co (Austin, TX)
- AUGUST 22 – The Wood Shop (Brooklyn, NY)
- AUGUST 23 – The Aggie Theatre (Fort Collins, CO)
Click here for the full list of tour dates
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