The theater goes dark and silence fills the room. Bodies crammed shoulder to shoulder negotiate every inch, angling to get closer to the stage. Just when the anticipation is at a fever pitch, the curtain rises, lights flare, and there’s… no Joji?

Though he’s never ghosted a live audience, diffuse vanishing acts are integral to Joji’s mythology, and it’s been on full display in the build-up to his new album, Piss in the Wind. For someone as sought after as he is, disappearing isn’t easy, either. But the Japanese-Australian musician, born George Kusunoki Miller, has turned the search for the “real him” into a guessing game. He thickened the plot in the mid-2010s, when he shed his comedic internet persona, took the name Joji, and repositioned himself as a “serious musician” in the process. His chronically online fanbase followed and they’re more invested in the mystery than ever.

One spotlight-defying tactic he deployed for the Piss in the Wind rollout was a body double who handled press appearances in his place. It was an epic troll and it’s exactly how Joji wants it. The record is big, but the persona is blurry. In his words: “Idolization isn’t good! Focus on the music!”

Piss in the Wind is Joji’s fourth proper studio album, and follows a hiatus after 2022’s SMITHEREENS and its multi-Platinum hit “Glimpse of Us.” For the new record, he rounded up a long list of collaborators to flesh out vocal textures and production direction. Giveon, Yeat, 4Batz, and Don Toliver plus producers/writers Kenny Beats, Dylan Brady, Bnyx, and Sevn Thomas are all on board. The thread that ties Joji’s squad together is one simple rule. He refuses to work with anyone who “isn’t funny” or has “0 jokes.”

The sonic range of the album is wide, too. From the blown-out bass of “PIXELATED KISSES” to the delicate textures of “If It Only Gets Better,” Piss in the Wind is layered on all fronts. It’s unserious, but holds real meaning. It’s a joke until it isn’t. It’s a combination of Joji’s deadpan humor, emotional weight, and sincerity that’s easy to misread as irony. Songs are also sometimes short with fragmentary cuts and quick pivots. Asked why some of the album’s 21 tracks are so ethereal, Joji summons a quintessentially Joji response. “They are like Costco samplers,” he says without hesitation.

So if you wanna snack on some mini hot dogs or Kirkland cheese while strolling the aisles, Joji has your back. Each flavor excites your mind in one direction before scurrying to the next. It’s a legit world-building approach designed to enhance the game he and his listeners play, while inadvertently providing fuel for critics who love to debate its merit. What more would you expect from an artist who has built his career around a novel blend of sincerity, craft, humor, and a steadfast commitment to refusing idolization in the most idol-worthy way possible?

The title Piss in the Wind implies futility and things backfiring. Was there a personal moment that made that phrase click as the right title for the album?

Joji: I think it’s just a phrase I use every now and then, and I thought it would be an effective title that seems unserious at first but holds real meaning.

A lot of songs on the album feel intentionally short and fragmentary. Are these snapshots of real moments? Is “shortness” a storytelling device for you?

This album was more of a mixtape with extra steps if anything. I like how the short songs showcase a wide variety of sounds in a short amount of time. They are like Costco samplers.

Fans often connect your music to breakups or relationships. Is there a specific experience that informed the majority of your lyrics on this record or are these composites of multiple experiences, moments, and feelings?

Not really. I think people, including myself, are always writing stories. There may be subconscious inspiration pulled from feelings I’ve had in the past, but it’s never about one specific experience or person.

When you think about this record compared to your earlier records, where do you think your voice as a writer, producer, and performer has grown the most?

I’d say all of it! It comes with age and experience, and at the end of the day, I’m just happy to be at this point in my career. I started out as more of a sample-based producer, so I think I’ve come a long way to make a song like “PIXELATED KISSES.” I want to grow more with production, but I just haven’t found the time to sit down and learn new DAWs or anything like that.

A lot of fans relate to the numbness and “emotional burnout” in your songs. What does taking care of your mental health look like for you?

I have a schedule. I enjoy my job. I ball a few times a week, I exercise. I feel good. I just enjoy producing and writing and am lucky to be in this position. I’m very grateful. I get the vibe that some people want me to be a depressed guy in real life, but that’s not my lifestyle. When people meet me for the first time, they are surprised at how unserious I am.

You’ve become known for blurring the line between sincerity and irony. On this album, where do you think you’re at your most sincere? Where are you most ironic?

I think it’s all sincere. It’s just the title that can be perceived as funny to anyone who doesn’t know the phrase. I think that might be the only thing that’s close to ironic.

If you had to introduce a new listener to Piss in the Wind with just one track, which one would you pick and why?

“CAN’T SEE SH*T IN THE CLUB.” It’s just got a good mix of new and old. It’s not the best track on the album, but it sets the expectations.

The visuals and promo around your projects are always specific. What part of the story are you trying to tell with the imagery and videos for this album?

Idolization isn’t good! Focus on the music! Hence the doppelgänger.

There’s a clear contrast between blown-out bass on tracks like “PIXELATED KISSES” and the really delicate textures on songs like “If It Only Gets Better.” Does that dynamic range create challenges when you go to mix the record?

Not as many challenges as you would think! As different as they sound, they’re still under the same umbrella tied together by the same vocalist. We make it work!

You worked with people like Kenny Beats, Dylan Brady, Bnyx, and Sevn Thomas on this record. What do you look for in collaborators in general? And were you looking for anything new or different when you were approaching this project?

For me, it’s hard to work with someone who isn’t funny, or at least fun. I want to be cracking jokes. We are lucky enough to choose who we work with in this industry, so I can’t imagine working with anyone who’s got 0 jokes. Imagine just droning around with nothing fun to say. Truly upsetting.

You’re extensively credited with both production and engineering on this record. Can you walk us through a typical Joji session for this album, from a rough idea in your DAW to a version you’re ready to send for mixing?

It purely depends on the song. For example, I made the beat to “PIXELATED KISSES” in about 30 minutes, and went to the studio the next day to record it. It was quick and just felt natural. Funny enough, “PIXELATED KISSES” was the last song I made out of everything on the album, and probably took the least amount of time. Some songs can take two days and others can take six months with constant revisits and edits.

For the collaborations with Giveon, Yeat, 4Batz, and Don Toliver, did you build the beats around their vocal styles, or did they step into sonic worlds you’d already created?

I think we all found a good middle ground and let the features be themselves. We landed on production that we mutually agreed on and did what worked. I love combining our sounds rather than stepping into each other’s worlds.

From using a body double to hosting a livestream robot battle listening party, you used a lot of novel tactics in marketing this record. Do you think it’s harder to cut through the noise culturally now than during past album rollouts?

Viral moments don’t necessarily translate to plays the way they used to. It’s more important to create a world and campaign that is catered to your listeners, while still being exciting enough to bring new people in.

Lastly, this being Hypebeast, can you tell us about your personal relationship with style? What clothing resonates with you right now?

I’m always going to wear a plain tank top, but I’m starting to mess around with the bottom half.