Infinity and Beyond
[Originally published in BMA Magazine, October 2012]
Politicians, fireworks and porn. For longer than most locals care to remember, Canberra’s cultural offerings have been repeatedly and somewhat imprudently reduced to this insufferably cringey trifecta. Now more than ever, such archaic banalities can be considered demonstrably obsolete, thanks largely to the city’s increasingly flourishing nest of local artists and musicians – many of whom have since spread their wings and talents across international waters. Perhaps none have done so with greater success than our homegrown disc-spinning dignitary cum world-renowned EDM mogul JAYTECH.
Fresh off the back of a recent North American tour, the nomadic DJ and producer, currently based in Berlin, has once again touched down on familiar turf for a whirlwind four-city tour, including, of course, his hometown. Armed with his recently released and highly-praised second album Multiverse, 26-year-old Jaytech (known amongst familiars as James ‘Jimbo’ Cayzer) hit Academy for what was undoubtedly an energy-packed journey through lush euphoric soundscapes and sunny electronic grooves.
James explains, ‘The general idea behind [the album] was to step everything up in scope. Everything is Ok, my first album, was largely a home-listening album. Over the following few years, I’ve just been over-exposed to the trance scene around the world – the global dance scene – and I think I’ve drawn influence from that and all of the crazy adventures I’ve had. I really wanted to send a message with the album that I’m stepping things up and heading in new directions. And I think it’s worked really well.’ He adds with an endearingly playful laugh, ‘I think the title Multiverse is kind of as epic as you can get! I think it sort of encompasses everything I’m going for quite nicely.’
As musically panoramic as the title suggests, Multiverse is indeed nothing short of, well, epic. Nevertheless, in stark contradiction to whatever grandiose connotations this label may ostensibly imply, James maintains a characteristically grounded, tongue-in-cheek approach to the whole concept. For this very reason, he admits that the most enjoyable tracks to produce were, in fact, his deliberately cheesy, classic euphoric trance mixes. ‘With tracks like Rabbit Raiders and New Vibes, part of the reason those projects are fun for me is because they do have a tacky element to them as well. Rabbit Raiders has this almost ‘80s feel; some of the synth and the melodies can definitely come across as a little tacky but it’s all done for the sake of fun.’ With an audible smile, he continues, ‘In that sense, I think those more light-hearted tracks are definitely more fun to produce, because you don’t spend so much time obsessing over the little details – it’s not too serious.’
Of course, that’s not to say the process involved with the production of Multiverse was devoid of the meticulous scrutiny and attention to detail that has become unequivocally synonymous with the work of this scrupulous producer. ‘You do have to be very critical of your own music. Even just finishing this album, when it was at the 90% mark I was stressing over everything so much. I think I’ve analysed it to death.’ It seems this element of self-criticism is not confined to the musical realm. ‘I think it sort of comes with the territory. A big part of being a producer and running a music career is constantly questioning yourself and working out what’s wrong with things. I think that definitely translates into real life as well. Obviously the branding and your own image is very important too; you have to constantly assess how people are seeing you and how you come across to people.’ While achieving international celebrity status justifies the necessity to consider these factors, James nevertheless adamantly strives to remain true to himself and his audience. ‘I think the most important thing is to make your image an accurate representation of who you are – that’s always a work in progress, always a learning experience for me.’
One area in which a distinct transformation is clearly evident since his last release is, as promised, the subsonic plain across which Multiverse daringly explores. Straying from the chilled hypno-tech beats woven seamlessly throughout James’ 2009 debut, Everything is Ok, listeners can anticipate a fresh range of melodies and tempos, exhibiting snapshots of formerly unchartered territory. James credits this predominantly to his local peers. ‘I have started to get a bit of a glitch element because I’ve been coming back to Canberra and a lot of my friends here are listening to glitch, glitch-hop, dubstep and mid-tempo – all those kind of new genres that have just popped up over the last couple of years,’ James explains. ‘And just on a personal level, the music I’m listening to at home is so much more in that sort of direction. House and trance music is sort of... I love it to pieces, but it’s also a nine-to-five job for me. So just for my own personal enjoyment, I really am getting into that style of music and it’s definitely something I want to do more of.’
While open towards experimenting with new genres, there are some which James intends to keep firmly outside the production domain. ‘I don’t think I would ever do a straight up classic-style dubstep track. You know, with the really big wobbly bass. I think it wouldn’t be in anyone’s best interest – not for the listeners or anyone! I do like that music – you know, if I’m in a clothes store or something and I hear some ridiculously crazy, wobbly dubstep track I really do enjoy it!’ He chuckles, ‘But I think if I were to go and write that sort of thing it would be a train wreck!’
Although neck-breaking wonky basslines may not be his forte, it seems almost every genre the man touches turns to gold. And if the kaleidoscopic Multiverse is any indication, who knows what harmonious horizons are yet to be explored by this talented young local luminary.
Fresh off the back of a recent North American tour, the nomadic DJ and producer, currently based in Berlin, has once again touched down on familiar turf for a whirlwind four-city tour, including, of course, his hometown. Armed with his recently released and highly-praised second album Multiverse, 26-year-old Jaytech (known amongst familiars as James ‘Jimbo’ Cayzer) hit Academy for what was undoubtedly an energy-packed journey through lush euphoric soundscapes and sunny electronic grooves.
James explains, ‘The general idea behind [the album] was to step everything up in scope. Everything is Ok, my first album, was largely a home-listening album. Over the following few years, I’ve just been over-exposed to the trance scene around the world – the global dance scene – and I think I’ve drawn influence from that and all of the crazy adventures I’ve had. I really wanted to send a message with the album that I’m stepping things up and heading in new directions. And I think it’s worked really well.’ He adds with an endearingly playful laugh, ‘I think the title Multiverse is kind of as epic as you can get! I think it sort of encompasses everything I’m going for quite nicely.’
As musically panoramic as the title suggests, Multiverse is indeed nothing short of, well, epic. Nevertheless, in stark contradiction to whatever grandiose connotations this label may ostensibly imply, James maintains a characteristically grounded, tongue-in-cheek approach to the whole concept. For this very reason, he admits that the most enjoyable tracks to produce were, in fact, his deliberately cheesy, classic euphoric trance mixes. ‘With tracks like Rabbit Raiders and New Vibes, part of the reason those projects are fun for me is because they do have a tacky element to them as well. Rabbit Raiders has this almost ‘80s feel; some of the synth and the melodies can definitely come across as a little tacky but it’s all done for the sake of fun.’ With an audible smile, he continues, ‘In that sense, I think those more light-hearted tracks are definitely more fun to produce, because you don’t spend so much time obsessing over the little details – it’s not too serious.’
Of course, that’s not to say the process involved with the production of Multiverse was devoid of the meticulous scrutiny and attention to detail that has become unequivocally synonymous with the work of this scrupulous producer. ‘You do have to be very critical of your own music. Even just finishing this album, when it was at the 90% mark I was stressing over everything so much. I think I’ve analysed it to death.’ It seems this element of self-criticism is not confined to the musical realm. ‘I think it sort of comes with the territory. A big part of being a producer and running a music career is constantly questioning yourself and working out what’s wrong with things. I think that definitely translates into real life as well. Obviously the branding and your own image is very important too; you have to constantly assess how people are seeing you and how you come across to people.’ While achieving international celebrity status justifies the necessity to consider these factors, James nevertheless adamantly strives to remain true to himself and his audience. ‘I think the most important thing is to make your image an accurate representation of who you are – that’s always a work in progress, always a learning experience for me.’
One area in which a distinct transformation is clearly evident since his last release is, as promised, the subsonic plain across which Multiverse daringly explores. Straying from the chilled hypno-tech beats woven seamlessly throughout James’ 2009 debut, Everything is Ok, listeners can anticipate a fresh range of melodies and tempos, exhibiting snapshots of formerly unchartered territory. James credits this predominantly to his local peers. ‘I have started to get a bit of a glitch element because I’ve been coming back to Canberra and a lot of my friends here are listening to glitch, glitch-hop, dubstep and mid-tempo – all those kind of new genres that have just popped up over the last couple of years,’ James explains. ‘And just on a personal level, the music I’m listening to at home is so much more in that sort of direction. House and trance music is sort of... I love it to pieces, but it’s also a nine-to-five job for me. So just for my own personal enjoyment, I really am getting into that style of music and it’s definitely something I want to do more of.’
While open towards experimenting with new genres, there are some which James intends to keep firmly outside the production domain. ‘I don’t think I would ever do a straight up classic-style dubstep track. You know, with the really big wobbly bass. I think it wouldn’t be in anyone’s best interest – not for the listeners or anyone! I do like that music – you know, if I’m in a clothes store or something and I hear some ridiculously crazy, wobbly dubstep track I really do enjoy it!’ He chuckles, ‘But I think if I were to go and write that sort of thing it would be a train wreck!’
Although neck-breaking wonky basslines may not be his forte, it seems almost every genre the man touches turns to gold. And if the kaleidoscopic Multiverse is any indication, who knows what harmonious horizons are yet to be explored by this talented young local luminary.