A new breed of Australian producers are making a name for themselves in the international arena, creating music that’s infiltrating clubs and topping the digital download charts. And Jaytech is placed right at the front of this new collective. No stranger to success, Jaytech is known to many as a DJ/producer extraordinaire, releasing a slate of quality house tunes characterized by their strong emphasis on melody, harmony and ball-tearing basslines. And there’s one other secret to this Canberra boy’s success: he’s got the support of the mighty Above & Beyond, who’ve singed him to their supremely successful Anjuabeats record label.
Since the age of 14, Jaytech AKA James Cayzer AKA ‘Jimbo’ has been writing and releasing melodic house music to international acclaim, all the while based in the ACT. With tunes in the CD wallets of Sasha, Paul Van Dyk, Hernan Cattaneo, Desyn Masielo and many more, Jaytech has shown a consistency that’s almost peerless. And it looks like 2008 will be the next step in the burgeoning career of the boy from the ‘berra as he releases his debut artist album Everything is OK. ITM caught up with Jaytech to find out more about the new album and how this young maestro is taking on the world.
Congratulations on the release of the new album. How long has it been in the works? When did the journey begin?
I had been toying around with the idea of an artist album for a while, but it was when the guys at Anjuna suggested they’d be interested in releasing it that I really got cracking. The whole thing took about 18 months from start to finish.
You have been writing and releasing music for quite a few years. Not many electronic producers make the leap from releasing singles to putting together an album. Was this a conscious step?
Absolutely. I had already been releasing singles for a number of years and had a growing following with DJs and people within the scene. Releasing a CD album is the next logical step as you can have a wider musical range, and in turn it has a broader appeal. Where most people buy dance singles to include in their mixes and play in clubs, many people buy artist albums to listen to and feel good while they study, drive to work, clean their house, whatever. I think hearing this music in these places is just as important as hearing it in the clubs.
How did you approach putting together Everything is OK? Was it a case of compiling unreleased material or attempting something that could not be achieved by pumping out singles?
It’s a different story for each track. Some of the tracks were projects that I had been chipping away at bit by bit for a long time, others came about in a matter of days. For the most part it was a case of coming up with entirely new material that expanded on the style that I had already become known for. As it was an album I could include some more downtempo and chilled out material, which was really enjoyable to make. I should do more of that stuff!
Your association with the boys from Above Beyond has deepened in recent times (with your album being released on their uber successful label, Anjunadeep). How important has this association been in getting your music out to an eager public?
It’s been a tremendous help – I have joined the Above & Beyond guys as their opening DJ at quite a few of their gigs around the world lately. Most recently I came along on their bus tour of West Coast US, which was a great experience. It worked really well, as the style I play serves as a good warm-up to their sets, and obviously it’s great exposure for me also. Back in the UK, the Anjuna team are absolutely nailing it as far as getting my name out there goes. In return I want to do as good a job as possible from my end, so I try and help out with the process wherever I can.
Do you think the fact that you are releasing an album on Anjunadeep has shaped your sound at all? Are you comfortable occupying an increasingly dominant space in the world of trance?
Well, it’s probably shaped it a little bit in that I want to write tracks that they’d be interested in releasing. There’s no pressure from them for me to write tracks in a particular way – I’m still free to go and write some experimental glitch-core thing if I want, they just wouldn’t release it! Well, maybe they would, who knows? I’m still nuts for cranking party tunes so generally we’re on the same page in that respect anyway.
Are you a gear nerd, always looking out for a new plug-in or hardware device for the studio, or do you take a more streamlined approach to creating your sounds?
I’ve never really been a gear nerd in that sense. I was always a software guy – when I first started writing tunes people were still scoffing at the idea of writing music with soft synths. Software has come a long way since then! I do most of my writing just with my laptop and headphones, but a pair of studio speakers definitely helps every now and then. There are some things you just can’t hear only in headphones and vice versa. I’m a real dag with this sort of stuff though, and I think it would be beneficial for me to sort myself out a more established studio sooner or later.
How important has your training on piano been in helping you make your musical ideas come alive?
I think anyone with a classical training definitely benefits from it when it comes to writing dance music. Music theory is important in understanding how notes work together and why, and learning how to say what you want to say through music. For example, you can send so many different messages just in the change from one chord to another. I don’t think classical training is absolutely vital to writing dance music, but it definitely changes the approach to writing it a lot.
Many people would know you from your collaborations with other Australian electronic artists, in particular Matt Rowan, Mark Dynamix and Jeff Drake. You obviously enjoy working with like-minded producers, any surprising collaborations on the horizon? Anyone you would simply love to get into the studio with?
It’s always an interesting experience getting in the studio with other people as everyone has very different takes on how music should be written. As anyone who has collaborated will tell you, it’s not just about cooperation but also about compromise. You have to make decisions between yourselves as to how the project is going to move forward. I haven’t done any new collaboration lately, as I’ve been finishing my album and traveling a lot. As far as collabs go, I think it would be really interesting to write a tune with Imogen Heap. She’s a total one man band; writing, performing and producing all her own stuff, and it sounds great. Also, I like the fact that she went and bought herself a sweet studio setup and actually put it to good use too.
You have been touring extensively in recent months promoting the album. Have you been to any places that have surprised you?
I think a standout for me was Morocco – I didn’t really know what to expect when going there but found it to be a great mix of Middle Eastern, African and European culture. Great food, nice beaches and beautiful people! In Rabat, the majority of trees are eucalyptus, so the whole place had a kind of Australian feel to it too, which definitely took me by surprise.
Some people are whispering that melody is making a bit of a comeback as people start to tire of the minimal and farty electro-tech noises that have dominated much of the scene lately. Have you seen any evidence of this in your travels?
I could be totally wrong about this, but it seems to me like the techy movement has come about from the fact that new producers don’t really have any convenient means of learning to use melody or harmony. All over the net it’s well-documented how to make a tight sounding loop or cool effects or whatever, and new producers are learning these techniques and using them well, but it’s still quite difficult to really portray use of melodic elements in modern terms. I haven’t really come across many people out there who only want to hear techy music as such. When ‘melody’ becomes a dirty word we’re all in trouble I think!
Are you happiest playing your tunes in front of a crowd, or conjuring up new sounds in the studio?
Both equally. It’s great fun producing and making something new from the ground up, but it’s just as fun seeing how the finished product goes down in a club on a big sound system.
Where is home these days? Are you still based in Canberra?
Nope, living in London at the moment with my sister and her husband, although I haven’t been here all that much as I’ve been travelling a lot lately. When I am in town I usually just want to relax, and it’s a good time of year to do it, as it’s sunny and gorgeous here for once! I will be back in Oz for the whole of November to play some gigs and catch up with my friends and family in Canberra.
So what is next in the life of Jimbo Cayzer?
I guess for now I’ll continue expanding my little internet empire and write some more music. More travel is definitely on the cards, and hopefully I’ll meet some cool people along the way with interesting stories to tell. Maybe I’ll take up a new hobby or two as well. Suggestions welcome!
Jaytech’s Everything Is OK is out now through Anjunadeep/Stomp. Stay tuned to ITM for details on his return to Australia later this year…
djbricksta says...
amazing album, amazing man, its going to be interesting to watch his career!!
winstonwolf says...
Killer Album.
resurrekt says...
I only just realised who jaytech is, i knew the song Pepes garden from Armin Only 2008 (Europe one)... I didnt know that the song was made from a guy a few hours away from me!! lol
akeys says...
his tunes lately have been absolutely rockin!!! looking forward to seeing this dude perform on his home turf!
Tyler Durden says...
Go Jimbooooo! ;D
RuffnReady says...
Jimbo rockin the world makes me happy indeed! d:)