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CONTENTS PAGE

MAYA JANE COLES

AUDIOJACK

BAKERMAT

TOP TRACKS

BIOGRAPHY

BIOGRAPHY

INTERVIEW

INTERVIEW

BIOGRAPHY

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MAYA JANE COLES24-year old, British/Japanese producer, DJ and song writer

T E C H H O U S E , M I N I M A L , H O U S E , D E E P H O U S E , T E C H N O, E L E C T R O N I C A , I N D I E D A N C E / N U D I S C O, C H I L L O U T

w w w. m aya j a n e c o l e s.c o m

w w w.s o u n d c l o u d.c o m / m aya j a n e c o l e s

w w w. b e at p o r t.c o m / a r t i s t s / m aya- j a n e - c o l e s / 7 0 4 9 1

w w w. fa c e b o o k .c o m / m j c o f f i c i a l

w w w.t w i t t e r .c o m / m j c o f f i c i a l

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MAYA JANE COLES24-year old, British/Japanese producer, DJ and song writer

T E C H H O U S E , M I N I M A L , H O U S E , D E E P H O U S E , T E C H N O, E L E C T R O N I C A , I N D I E D A N C E / N U D I S C O, C H I L L O U T

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B I O G R A P H Y

T O P T R A C K S

A L B U M

FLORENCE & THE MACHINESPECTRUM (MAYA JANE COLES REMIX)

SH’ES ON FIREMAYA JANE COLES

WHAT THEY SAYMAYA JANE COLES

Released: 18/10/10Label: Real Tone Records

“The descending organ riff, almost an acid house motif, gives it an anthemic quality.”(Resident Advisor)

Released: 11/07/12Label: Island Records

“It’s a sensation for the senses...definately and essential listen.”(Young Music Radar)

Released: 21/05/12Label: Bo Rush

“A certified dancefloor weapon...a fresh and accessible approach to Bo Saris’s sounds.”(XLR8R)

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Released: April 2012

“It takes you on a lovely & laidback Spring flavoured jountey hinting to a sunny Summer yet to come. She devlivers a good insight into a range of different styles...put together in a somewhat surprising sequence.”(Eric Veriegh, Laptop Rockers)

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B I O G R A P H YBritish / Japanese producer who has djed in over 20 countries in the first 6 months of this year as well as releasing huge remixes and her debut album. She was voted ‘Producer of the Year 2011 by DJ Mag, named ‘Best Breakthrough DJ 2011’ by Mixmag, and ‘Best Newcomer 201’ at the Ibiza DJ Awards 2011. An eclectic daughter of similarly eclectic parents; Maya was surrounded by a mixture of sounds from Dub to

Punk to Soul and Jazz to World to Classical music around the house. First producing hip-hop at 15; Maya was determined that she should be able to learn the skills to realise her own vision at every part of the process from production to performance. Driven by a constant urge to push herself and evolve; Maya migrated to dubbier sounds and eventually to drum’n’bass around 16; before a

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huge water shed moment in her life, Maya experienced good underground house! As a result, Maya started on her current journey as a house producer releasing on labels such as Dogmatik and Loco Supreme as well as chalking up DJ gigs at events like the BBC Electric Proms, Sonar and Bestival along the way. Further Maya productions have only added to this success with impressive showings for Maya’s “Humming Bird” EP (Hypercolour), ‘Focus Now’ EP (20:20 Vision) and “Beat Faster” EP (Mobilee) garnering peer support as

varied as John Digweed to Miss Kittin to Art Dept and earning Maya the May covers of Mixmag, DJ Mag Weekly and Guestlist Network along the way and coverage in Flaunt, ID, Dazed and Confused amongst others. With radio support coming in over 30 countries world wide. Maya is of course also known for her djing and mixing skills which blend her own productions and remixes with the work of other producers she respects. Alongside guest mixes for the likes of Resident Advisor, Louche, Trace A Line and Defected; Maya started

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an unbelievable summer with a much lauded Essential Mix which dropped in July and a cover mount mix for Mixmag’s ADE edition where Maya also played Studio 80 to launch the edition For most people the mere mastery of music would be enough but not for Maya, her brain just wasn’t built to be constrained so in the future we may more of Maya talents from the world’s of fashion, photography and art but for now Maya is clear – MUSIC definitely comes first.

MAYA WAS NAMED “PRODUCER OF THE YEAR 2011”

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WHEN DID YOU FIRST HEAR ELECTRONIC MUSIC? WHAT WAS IT AND HOW DID IT MAKE YOU FEEL?

The first electronic sounds I got into was anything Bristol sounding. I remember the first time I ever listened to Portishead and Massive Attack I was absolutely blown away. I was also really into Drum & Bass as well back at school, and those were the first kind of parties I used to go to. It was when I was about

17 that I started partying at the right places and hearing the more deeper intelligent side of House/Tech that I started getting into it. I started hearing music that I’d never heard before and it really opened my eyes to the scene.

WERE YOU MUSICALLY EDUCATED, OR DID YOU TEACH YOURSELF?

I went to music classes and played instruments when I was younger so that definitely helped develop my

INTERVIEWmusical ear from an early age. I feel so grateful to have had that cause my music wouldn’t be the same otherwise

.DO YOU CONSIDER YOURSELF AND DJ, PRODUCER OR SONGWRITER?

WI consider myself all those things but definitely a producer first. The DJing came afterwards and the songwriting isn’t something I do as frequently. Actually creating

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the music is definitely the most appealing part for me. The parties and DJing are a bonus.

WHERE TO YOU LOOK FOR NEW MUSIC? HOW MUST A RECORD MAKE YOU FEEL BEFORE YOU PLAY IT OUT?

A record’s gotta make me feel some kind of emotion for me to play it or want to listen to it. Whether it’s happy or sad or excited or just makes me wanna dance. I’m always

“It’s really hard to

plan what you wanna do creatively. It’s

all about how you’re feelin at the time

and what naturally comes out.”

musical ear from an early age. I feel so grateful to have had that cause my music wouldn’t be the same otherwise

.DO YOU CONSIDER YOURSELF AND DJ, PRODUCER OR SONGWRITER?

WI consider myself all those things but definitely a producer first. The DJing came afterwards and the songwriting isn’t something I do as frequently. Actually creating

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keep pushing on and don’t give up it eventually pays off.

OFTEN CITIES/AREAS ARE LINKED TO CERTAIN SOUNDS AND SUB GENRES. DO YOU THINK LIVING IN LONDON IS REFLECTED IN YOUR MUSIC?

Definitely, I grew up having such diverse circles of friends who were all into completely different styles of music so that opened my mind to

different sounds from a young age. I’m sure this is a big reason why I can never stick to producing one genre of music!

WITH THE CURRENT PENCHANT FOR OLD SCHOOL HOUSE SOUNDS, DO YOU FEEL YOUR TRACKS DROPPED AT JUST THE RIGHT TIME?

Yeah for sure, I’ve always liked to mix up old and new sounds within

listening out for new music to play. I like to play a lot of my own stuff and my friends’ music in my sets.

WHEN DID YOU FIRST REALIZE YOU COULD MAKE IT A LIVING?

Ever since I first started producing music I knew it was what I wanted to do for a living. It can be so hard when you putting your 100% into something for such little financial gain. But I’ve learnt as long as you

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different sounds from a young age. I’m sure this is a big reason why I can never stick to producing one genre of music!

WITH THE CURRENT PENCHANT FOR OLD SCHOOL HOUSE SOUNDS, DO YOU FEEL YOUR TRACKS DROPPED AT JUST THE RIGHT TIME?

Yeah for sure, I’ve always liked to mix up old and new sounds within

my music cause I take influence from such a variety of styles. If that’s what people happen to like at the moment then even better for me. HOW HAVE YOUR MUSICAL TASTES EVOLVED FOR YOU THIS YEAR?

My musical tastes evolve (or broaden) all the time. I love discovering new music and new sounds. At the moment I’ve been absolutely rinsing Warpaint’s album “The Fool”.

DO YOU PLACE ANY SIGNIFICANCE ON THE FACT THAT YOU’RE A WOMAN IN A PREDOMINANTLY MALE DOMINATED FIELD?

I’ve never been a girly girl and always found myself in male dominated surroundings. I wish the music industry wasn’t as male dominated as it is. It can get a bit boring meeting the same kind of average older bloke producers and DJs all the time. I hope to someday be in a position where I can help or inspire more young women to get involved.

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www.soundcloud.com/audiojackof f i c ia lwww.beatpor t . com/ar t is ts/audiojack/19756www.facebook .com/audiojackmusicwww.myspace.com/audiojackmusic

A U D I O J A C KA Leeds based DJ duo, producers and label oweners who have worked on productions and remixes for labels such as 20:20 Vision, Leftroom, Get Physical, Diynamic and for their own label, Gruuve.

h o u s e / d e e p h o u s e / t e c h h o u s e / e l e t r o n i c a

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A U D I O J A C KJAMES RIAL &RICHARD BURKINSHAW

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B I G R P A H Y

mash up, which was sent to around

20 labels yielding no reward,

although a random meeting at a

local record shop was about to

change all that, ‘Robot’ was picked

up by the label Leftroom.

Robot was released

in 2006 and went on to become

one of the most talked about and

supported tracks of the year,

The story of Audiojack began in

Ibiza in 2002; a chance meeting

brought about through a mutual

love of music and DJing, the

friendship of James Rial and

Richard Burkinshaw began. Three

years later they settled in Leeds

and it was at this point they decided

to take to the studio together, in

an attempt to turn their long-term

passion for DJing and love of vinyl

into something more perpetual.

In 2005, after an

intensive year of studio time, cheap

cider and angry neighbors the duo

produced their first demo, a six track

PLAYED OVER 400 DJ PERFORMANCES IN 5

CONTINENTS

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mash up, which was sent to around

20 labels yielding no reward,

although a random meeting at a

local record shop was about to

change all that, ‘Robot’ was picked

up by the label Leftroom.

Robot was released

in 2006 and went on to become

one of the most talked about and

supported tracks of the year,

notching up five figure sales and

gaining huge support across

the board from Sasha to Richie

Hawtin, from Pete Tong to Annie

Nightingale.

The duo then found

themselves in serious demand,

going from having no gigs to a

practically full tour diary overnight

with offers from many of the labels

who’d been reluctant to check

out their demos just a few months

earlier.

Soon, Ralph Lawson

and his 20:20 Vision label came

calling. The infamous Leeds label’s

office was just a short walk from

their home studio, and with that

they signed a three single and one

album deal, the remnants of which

are still in place today as artist and

label continue their long-lasting

partnership.

Legendary Leeds club

Back to Basics played a hugely

influential part in shaping Audiojack

in these early years and when then

resident Paul Woolford offered

them the chance to remix his recent

classic ‘Erotic Discourse’ they got to

work, jacking up the original with

a more dance floor orientated

alternative, which quickly found its

way to the top of Beatport’s techno

chart.

The singles and

remixes which followed were

a manifestation of their early

influences of house, techno, hip hop,

soul and more, resulting in remixes

for labels such as Renaissance,

Blu-Fin and Great Stuff, including

a remix for Mike Monday whic

began to show Audiojack to be

somewhat techno hit makers,

and have their third production

to top Beatport’s techno charts.

Further remixes for the legendary

PLAYED OVER 400 DJ PERFORMANCES IN 5

CONTINENTS

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Underworld and Lawson’s band

2020 Soundsystem showed their

versatility. Their varying styles

made it hard for the media and

music fans to categorise them; one

magazine even reviewed the same

track in 4 different genres!

In 2009, Radio was

released on 20:20 Vision to critical

acclaim. Clash magazine wrote

“anyone with appreciation for house

or techno in any of their varied

forms will dig this, impressive”. IDJ

Magazine commented “Audiojack

represent all that’s great about

20:20 Vision, house music and the

UK dance floors right now.”

Tracks such as

Schizophonic, Jack the Keys and

title track Radio picked up big

support with the likes of Pete Tong

playing repeatedly on Radio 1.

In December of 2009,

the duo make their debut on Get

Physical’s digital sister label with

their ‘Kicks for Kicks’ EP, which

found favour amongst the likes of

Sven Vath, Solomon and DJ T.

As their own sound

developed, becoming deeper and

housier the duo began to distance

themselves from the tired and

generic tech house and techno

sound. Their Shakedown / Motion

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“We were kids who got a lucky break back then. We’ve since had 5 years to hone our sound and learn new production techniques”

Sickness EP on 20:20 Vision picked

up big support and was a mainstay

in download charts throughout the

summer, becoming 20:20’s best

selling EP of the year.

In 2011, it was their

‘Get Serious’ EP on 2020 Vision

that stole the show. A non-mover

in Beatport’s deep house top 10

for several months, ‘Polka Dot

Dress’ was no average B side, this

too remained a chart mainstay for

several months

Ten years on since

that chance meeting in Ibiza and

Audiojack are more inspired,

confident and excited about the

future of music than they’ve ever

been.

Audiojack have toured

in over 50 countries taking in

some of the world’s best venues

and events: Space (Ibiza), Fabric

(London), D-Edge (Sao Paulo),

Ageha (Tokyo), Circo Loco (Sydney),

Fabrik (Madrid), Zouk (Singapore)

Basics (Leeds) to name just a few.

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I N T E R V I E W

“If we both totally agree on something it almost always ends

up being something special.”

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HOW DID THE NAME AUDIOJACK COME ABOUT?

It was as simple as two guys sitting in a park reeling ideas off and Au-diojack was the first one we both totally agreed on! That’s something we still use to gauge the potential of our new music today actually, if we both totally agree on something it almost always ends up being some-thing special.

WHEN YOU FIRST STARTED LIS-TENING TO ELECTRONIC MUSIC, WHICH DJS WOULD YOU GO TO SEE?

Rich: I got into hardcore and techno when I was about 13 although I didn›t go to many clubs back then, I was mostly listening to mix tapes, the likes of Sven Vath, Stu Allen, Slip-matt, Carl Cox. My first real DJ love though, and the inspiration behind a lot of my musical development has to be Sasha, a love affair which

“If we both totally agree on something it almost always ends

up being something special.”

started around ‘96 and continues to this day. We signed to his now de-funct agency Excession a few years ago and I had the privilege of meet-ing him in Miami. His Essential Mix from 2001 is still to me the greatest mix I’ve ever heard.

Jamie: When I was at school my mate used to make me tapes with early 90s house on there and I used to listen to it on my Walkman when I was training for sport and what not. There was a rave held in the small town I lived in so I went to that for a couple of years before going to uni, which was where I really got into the clubbing scene. It’s only been in the last 10 years that my taste has zeroed in on the specific types of electronic music I’m into now. I’ve certainly become more of a music snob over the years ha ha.

HOW DO YOU THINK YOUR SOUND HAS EVOLVED SINCE YOUR FIRST TRACK?

Well we’ve matured a lot since then, our tastes have become more re-fined and we’re definitely much less noisy! Robot was a twanging tech-no monster, made around 128bpm whereas the stuff we’re making now is around 120-124bpm.

WHICH ARTISTS HAVE BEEN YOUR BIGGEST INFLUENCE MORE RE-CENTLY?

In the last year or so Maceo Plex, Huxley, Waifs & Strays, FCL, Eats Everything and Julio Bashmore have been really standout artists or us. We’re really excited about quite a few newer artists such as Balcazar & Sordo, Ardalan, Ksky and Dusky. HOW WOULD YOU DESCRIBE YOUR CREATIVE PROCESS AS A DUO?

Pretty straight forward really, getting a good groove or bass line that’s going to work on the dance floor is

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paramount. If the foot isn’t tapping to a simple loop then it’s back to the drawing board. Then its building a track around that using the percus-sion to get the type of rhythm you’re aiming for.

WHO WOULD YOU COLLABO-RATE WITH?It might sound bizarre but none re-ally! The phrase ‘too many cooks’ springs to mind; we’ve already got enough ideas going on in the studio.HOW DO YOU COMPARE STUDIO TIME TO PLAYING AT GIGS?

You can’t really they’re totally dif-ferent, it’s like comparing writing an essay in your own time to doing a presentation in front of a crowd of people.

WHY DID YOU WANT TO BECOME LABEL OWNERS?

Primarily we started Gruuv out of a passion to support some of the fantastic music we were being sent by upcoming producers. Also as a platform to occasionally release our own music. We just love putting EPs together, from helping artists with getting their sound right to signing music, choosing remixers and pro-mo’ing to other DJs and releasing.

TODAY DO ARTISTS NEED TO BE USINESSMEN IN THEIR INDUSTRY AS WELL?

In short, and by and large, yes. In years gone by there was a tiny frac-tion of the producers, DJs, live acts

and labels there are nowadays. This meant there was nowhere near as much choice for those music buyers, making it much easier for tracks to stand out. Try doing that these days and even if you’re successful musi-cally there, so artists have to quickly learn how to do a lot of these jobs and the PR for themselves.

WHICH PRODUCER DO YOU LOVE AT THE MOMENT?

Maceo Plex has a really nice sound at the moment blending the funky disco vibes with raw techno sounds which keeps both girls and boys in-terested on the dance floor.

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IF YOU COULD PASS ON JUST ONE PRODUCTION TIP, WHAT WOULD IT BE?

Originality is everything in music, be-ing just like everybody else will get you nowhere so try and think outside the box. If you make house music, try and get some sounds that are usual-ly used in other genres like Hip Hop or Dub Step and try to incorporate them into your productions to create a more unique sound. It might work, it might not but when it does you’ll stand out from the crowd.

WHAT WAS THE INSPIRATION SOUND WISE BEHIND YOUR DE-BUT ALBUM, RADIO AND HOW HAS YOUR SOUND DEVELOPED?I guess our music has always had to have energy and worked on the dance floor but we’ve made every-thing from Deep house to peak time techno depending on what we’ve felt like at the time. The inspiration for our album was to create an electronic music journey that incor-porated all of the styles we’d used in the past.

FINALLY, WHAT IS IT THAT KEEPS YOU TRUE TO THE UNDER-GROUND?

Basically because we hate com-mercial music, underground music is for people who love music and it’s created by people with truly great minds and talent not by people who understand what flicks the switches of ignorant people and know they can make money with it by selling out and making cheesy mainstream atrocities.

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HOUSE / DEEP HOUSE / FUNKY HOUSE / TECH HOUSE / SUMMER HOUSE, WITH INFUSIONS OF JAZZ

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A YOUNG, Dutch producer from Utrecht, NETHERLANDS

WHO HAS HAD A ‘QUICK RISE’Soulmax

HOUSE / DEEP HOUSE / FUNKY HOUSE / TECH HOUSE / SUMMER HOUSE, WITH INFUSIONS OF JAZZ

h t t p : // s o u n d c l o u d.c o m / f l u t t e r t

h t t p : // w w w. fa c e b o o k .c o m / b a k e r m at s z o m e r t u n e s

h t t p s : // t w i t t e r .c o m / B a k e r m at M u s i c

h t t p : // w w w. l a s t. f m / m u s i c / B a k e r m at

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In just three months he gained a lot of views, likes and followers with his productions. He always had an obsession with music, in many genres. The young Bakermat was into jazz and blues at a young age and discovered house music when he was around 12. By fanatically listening to every

track that was posted on blogspots he soon had a huge library built up. At the age of 18, he went to the University of Utrecht to study Psychology and to finally live on his own with other students. It was Utrecht that made him discover deep house and producing. He started

“He went from being an ordinary student with no musical network at all to a producer with labels and agencys knocking on his door.”(Soulmax)

B I O G R A P H Y

practicing a lot with production and DJing an quickly developed a sound of his own. His sound, deep house with jazz and soul influences, started to get a lot of attention in this short time. He went from being an ordinary student with no musical network at all to a producer with labels and

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“He went from being an ordinary student with no musical network at all to a producer with labels and agencys knocking on his door.”(Soulmax)

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agencys knocking on his door. In September, Bakermat singed a contract with agency Soulmax, knowing that they will bring him to the next level. With a lot of future gigs allready planned. His sets are filled with joy and happiness, and always

melodic. Saxophones, flutes, trumpets, Bakermat tries to use them a lot because it’s the combination of these jazz instruments with deep house music that make Bakermat’s style unique. Still growing as an artist, Bakermat had a release in August on Delicieuse Records where he released

“Bakermat wants to take you to par-adise island on his magic carpet and serenade you with a dazzling foray of jazz flute sexyness”The GIGITY

the “Vandaag EP” consisting of the tracks Vandaag and Zomer (DM mix) . Some other tracks that are received succesfully are “Uitzicht”, “Black Cat John Brown” and “Strandfeest”. He is currently working on productions with other artists as well like Arjuna Schiks and Tonique. His influences are; Coleman

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Hawkins, Nat King Cole, Ludovicio Einaudi, Stimming and Benjamin Herman. You’ve heard jazz flute before, but Bakermat’s flute skills are majestic and even rival the skills of Ron Burgundy from Anchorman. But by George Lucas’ belly that is not all! Then we have the sensual saxophone that will take you on a silky, smooth safari followed by sweet boomerang wooshes that flow through your hair. Simply put this song is incredible! So sit back, relax, and enjoy this unbelievable and dreamy musical experience. B a k e r m a t surprises us with the maturity of his music and his ability to perfectly combine beats, electronic

with various instruments : flutes, saxophones. His art blurs the boundaries between genres, his progressive sounds surprise and seduce us, furthering our boundaries. Following his intuition and tastes, his productions are as catchy and melodic as they are chill . The up and coming Bakermat is no doubt

COVER DESIGN FOR HIS TRACK ‘VANDAAG’

“a sharpenED

sense of

musicality,

surprising

instruments

of quality

and to all of this you

can add youth and

you’ll have a certain

talent”

(InSANE PROJECT)

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present on this Vandaag EP with our greatest pleasure. One of his latest tracks called Vandaag, is a one with Tech-House sounds and legendary phrases from Martin Luther King’s speech. A concentrate of energy

with the pleasant sounds of saxophone and piano, we hope it will delight your ears.The title which has already accompanied some of you this summer, has been slightly reworked by Bakermat with

a more punchy and rhythmic beat. Lodewijck is a method, which tempting to say, has become his trademark with a fine combination of tech house and classical instruments, like the flute.

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