inthemix | Features | Audiojack: Turning the voltage up on Underworld

Audiojack are signed to Ralph Lawson’s infamous 20:20 Vision Recordings for their solo productions, as well as their upcoming debut album, and this is as good an indication as any how much respect they wield in the world of techno and underground house. There’s something about their music that’s been able to effortlessly reach out to DJs across many different genres and musical persuasions; getting club playtime from he likes of Groove Armada, Sasha, Carl Cox, Deep Dish, Lee Burridge, Luciano, Steve Lawler, Craig Richards, Meat Katie, John Digweed, Laurent Garnier and many, many more. With a list of supporters like that, it’s clear the music of Audiojack has managed to cross a few boundaries.

And their latest release is a hotter than scalding remix of Underworld’s Holding the Moth, a cranking tech reinterpretation of the considerably more downbeat track from the seminal UK act’s Oblivion With Bells album from last year. “Working with Karl Hyde’s vocal is something we’ve wanted to do for years. Were told this might be a ‘Japan Only’ release so keep your eyes on the imports!” Even if the rest of the world might not get to see it, it’s already been getting its fair share of attention: none other than James Zabiela recently featured it in his Glastonbury set, which broadcast to the world in the BBC1’s Essential Mix. With the DJ/producer duo about to return to the country, ITM talks to Audiojack.

Are you guys representing mini jack or ¼ inch?

Ah so you are referring to the 3.5mm jack by mini jack. I don’t think you’re likely to impress anyone by saying you’re either mini or a ¼ inch so let’s leave it at that! Seriously though, the name was supposed to represent some one who is good with sound. Like being a ‘jack of all trades’ except we have chosen one particular trade which is music/noise and being good at creating/deconstructing it. Hence Audiojack.

In terms of record sales, what numbers do you aim for?

We aim to make underground music, so massive record sales are not a priority as you have to make commercial music to sell lots. We make music to interest people who play in underground clubs or just DJ for pleasure with underground house/techno and of course people who just like to listen to it. We have had fairly consistently high record sales for our style which has been a bonus as it makes us attractive to more desirable record labels.

So who would be ‘Audio’, and who would be ‘Jack’?

We get asked this all the time at gigs, quickly followed by a piece of tumbleweed blowing across the dance floor and a church bell chiming in the distance. Neither would be either, we’re a music act with one name and two members. If one of us was actually called Jack then it would be an easy process of elimination but we’re just Rich and Jamie AKA Audiojack, one word!

What kind of software/hardware do you consider as the premium and necessary for production?

We’ve got some hardware but we mainly sequence the tracks on FL Studio which surprises a lot of people who seem to think it’s an inferior piece of software. Although we haven’t tried all of the different packages to compare it, it does a perfect job of getting the sound in our heads into the speakers and as Marshall’s finely coined MySpace quote says “It’s the ear, not the gear”. It doesn’t matter what you use to produce as long as the end result is what you want.

You boys travel a bit and tour yonder in various worldly regions. What do you like to do differently live to contrast studio work?

At the moment we aren’t doing a live show, we DJ back to back with the music we’ve written and music we like that fits the set. We have quite an animated show as we’re always working the DJM800 mixer whilst mixing and winding up the crowd. Different areas of the world respond to differently structured sets so you have to know your crowds but we always try and put the same work into the set to get the crowd going and build the music up over the course of the gig. We primarily want people to have as good a time as possible. That’s our main aim.

Where’s your favorite location to play?

Each place has its benefits but at the moment there is a great scene growing in Romania. We always have carte blanche to play as long as we like and often build a set over four or five hours from minimal to more energetic stuff which is better for us as there are two of us and we both love DJing. The longer sets give us more time and we don’t feel we have to miss great tracks out.

Who would like to collaborate next with, that you haven’t yet?

We haven’t done any studio collaborations and don’t have any plans to as we like to do our own thing. We have done lots of remixes and after our album is done we intend to do some remixes of well known tracks that we love but you’ll have to wait and see who and what.

Do you think it’s a good move to own your own record label?

It depends on your reason for starting one. It’s good for your profile and it’s a great feeling to help promote other artists we admire. It also allows people to identify with our music, but it’s certainly not financially attractive. Most underground labels will have been lucky to break even in the last 12 months, even the biggest ones.

Has owning your own label attributed to some of your success?

It’s difficult to quantify that as we have no way of saying how much comes from the music, or the DJing, or the label or any other factors. We just work hard at all of them. So there aren’t any secrets or specific techniques other than hard work and a passion for the music.

So when are you expecting again? Any EPs or LPs on the way?

We’re aiming for our debut album to be finished and hopefully out later this year and we are currently working on a remix for 20:20 Soundsystem but we haven’t got any other rigid plans for what else will come along this year, it’s predominantly album album album at the moment.

We’ve just finished a remix and dub for Underworld which was a real pleasure to make, working with Karl Hyde’s vocal is something we’ve wanted to do for years. Were told this might be a Japan Only release so keep your eyes on the imports! The track’s called Holding the Moth.

Are you guys still blessed with your 20:20 or has the DJing lifestyle of partying, drugs and booze diminished your vision somewhat?

We are exclusively with the blessed record label 20:20 Vision but as for eyesight, staring at computer screens will be what is diminishing our vision, not because of any overindulgence because of DJing. We try to be professional when we perform as we think it’s disrespectful to the people who attend to get wasted beforehand. We’re working hard on music and other stuff during the week so we only get to really ‘let our hair down’ and relax when we have the chance of a free night to get together with our mates. Or maybe an after gig party or two…

Have you experienced Australia yet as a professional? Do you enjoy Fosters? Be honest.

Ah, the old Fosters myth. They don’t even have it anywhere in Australia do they?! It’s a bit weak to be honest… tap water with a bit of lager. We would drink it if there was no other booze but we tend to stick to more superior drinks such as lighter fluid or antifreeze. But we’re really looking forward to coming back in July, we were in Australia last year during Anzac Day celebrations and had an awesome time!

Catch Audiojack at the following upcoming shows…

25th Jul – Monastry, Brisbane
27th Jul – Two Floors Up, Melbourne
1st Aug – Habitat, Perth
2nd Aug – Chinese Laundry, Sydney