You can't make music if you don't love it. And you can't make great dance music if you don't love to dance. Even now, with a well established DJ, production and remix caree... read more
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You can’t make music if you don’t love it. And you can’t make great dance music if you don’t love to dance. Even now, with a well established DJ, production and remix career that keeps Jason Jinx more than busy, you’ll still see him out, taking in new music and working the dance floor just like he would back in the day as a teen. Back then in the late eighties / early nineties New York City was a melting pot of various clicks and scenes: industrial, techno, rave, hiphop, house Kids from all over: Brooklyn, NYC, Queens, Long Island they were all getting down. Jinx was one of them, and in 1991 at 19 years old the beginning of his DJ career was a natural extension of that partying experience. Jinx’ first DJ residency was for a night called NASA at the Shelter, NY. He also went on to residencies at the Tunnel, Limelight and The Loft. Early on Jinx uncovered the breakbeat sound that was coming out of the UK, and while at NASA one of his two sets a night would be drum and bass – the other, house. Jinx was the only New York DJ spinning full drum and bass sets at the time and he soon gained the respect and support of UK labels and producers.

Some of his first forays into production (released on Sm:)e Communications) were drum and bass tracks, as well as house. Although now when DJing, Jason’s sets are purely house music and his productions are house too, his openness when it comes to new music speaks through those productions. Admitting he’s ‘not a purist’ when it comes to sonics and equipment – for Jinx the important thing is to ‘be innovative, use what’s available, take the technology we have – computers, digital audio – and use it to the fullest, creatively.’ That creativity extends beyond engineering, production and mixing – all of which Jinx does himself – he will also pick up the bass, guitar or keys to augment his work.

Over 40 singles – and remixes – have come out of Jinx’ studio for labels like Defected, Strictly Rhythm, Groove On, Eightball, Nervous, Ovum, and King Street to name a few. Recently a huge dance floor buzz picked out the track “Bring back that Feeling” on Subliminal. And under the moniker Joystick, Jinx has made a lot of noise on the Yoshitoshi label with cuts like “Go Insane”, “Listen”, and The “Chelate EP’”. As well as his remixes of Eddie Amadors’ “Rise”, Mysterious Peoples “Fly Away”, and PQM’s “The Flying Song”. Creating tracks as a DJ crafts a set, Jinx plays with dynamics that build and build on the dance floor. It’s a warm sound, but built around hard, supremely danceable beats – like “Modulate/Can you relate?”, on Moody Records, which has been making waves in clubs both sides of the Atlantic.

Jinx describes his style as “New School Old School” – employing new production techniques but ‘trying to keep the feeling of the old school house I grew up on and loved – New York, vocal, piano-y house." Although he admits he still loves to ’bang out tracks’ occasionally – for that certain special energy that can be captured with fewer hours in the studio – Jinx’s focus now is on producing quality vocal house music – great dance floor records.

The DJ spirit still thrives too, and he continues to be in demand across the US, Europe and Canada. Whether producing an original track, remixing someone else’s or DJing to a packed floor, Jason Jinx has an instinctive feel for what is fun, and what the dance floor will respond to. It’s that love for music – and for house music in particular that makes his productions work and keeps the faithful returning to the floor.