Jones describes her own childhood as one with a boundary-less soundtrack, “late nights dancing to Michael Jackson, mornings mixed with Motown and afternoons soaked in Spanish guitar.” Her mother’s extensive record collection, which ranged from early Elvis Presley to live recordings of electronica pioneer Isao Tomita, set a musical foundation that fostered later teenage discoveries of artists such as Tangerine Dream, Bob Marley, Violent Femmes, Ommou Sangare and Peter Gabriel, to name a few. “From tape, to record, to cd and back to records, I have always collected music. I have always sought music from around the world and am especially drawn to what sits on the electronic edge.”
Her love of and dedication to travel during her twenties brought diverse world rhythms into her ears. Places like India, Kenya, Turkey, Morocco, and Jamaica left her with a global perspective on both music and culture. Jones’ time living in the UK during the early nineties placed rave culture and techno music deep into her mental mix. When she got her bachelor degree in Anthropology, Jones focused her studies on dance music culture and technology. Becoming a collector and taste-maker in the electronica genre, Jones also put her musical passions to pen for eight years writing electronica reviews for Canada’s Exclaim! Magazine. “I got to listen to a lot of independent artists in electronica, and this can’t help but open your mind to how diverse this type of music can be, how innovative and how expansive it is.”
Jones’s own musical study started at four-years old with piano lessons that led to voice study at a music conservatory; however, she did not feel sparked to move from player and collector to creator and producer until at 29 she got her first set of technics turntables. Collaging sounds on what she called the spinning drum, Jones began to see music from new angles. “Our musical history had become its own language constantly being re-textured and re-contextualized in the art of the remix.”
As DJ Andabeat, Jones played clubs, raves and street parties in Vancouver and British Columbia. A founding member of the Vancouver turntable quartet the Revolutionists, Jones refined her mixing and scratching skills on top of the group’s multi-layered jump-up sets at parties and festivals. Discovering her passion for investigating the many possibilities of sound, her command of the turntables turned her into an in-demand DJ, and the art of scratching and sampling moved her into the path of music composition and production.
Since 2013, Jones has released two solo albums: The Beatrix Generation (2013) and Elevation (2016). Her life, and in turn music studio, set in the trees of Cortes Island in the Pacific Northwest greatly influences the textures of her music. She embraces and fluidly mingles organic and digital sounds into both retro and futuristic styles on an expansive sonic palette. Jones lives in her studio when producing; and with keyboard and turntable always at her fingertips, she weaves her love of improvisation with a devoted study of music and jazz theory. All tracks are mixed initially in her studio, and when ready, Jones taps into the talents of Old Growth Studios on the shores of Salt Sping Island’s Burgeone Bay to work with mix engineer Daryl Chonka for the final polish. Jones is currently working on an ambient album and an electronica-beat-driven EP while preparing a catalogue of production music.