Burnski
Thursday, January 7th, 2010
YOUTH is wasted on the young, it is often said. Well somebody had better tell that then to talented and seemingly ever-busy young DJ and producer Burnski. At only 23 the instantly-likeable James Burnham, as he is better-known at home, has already racked up a CV the envy of artists much senior than him, has spun at some of Europe’s most established club nights and has been resident of Leed’s legendary Back to Basics since the tender age of just 20.
He’s pretty much a “veteran” in the production stakes having been making music seriously for six years now and having made his recording debut in 2005 with the stunning Coldcut EP on Trapez, a release that melded Detroit techno and English house with such maturity that it belied his age. He hasn’t looked back since with first-rate releases – whether they be at the minimal or deeper end of his production spectrum – on some of the key must-have labels around including Morris/Audio, 20:20 Vision and Poker Flat.
So many of us might be inclined to forgive Burnski, who picked up the nickname while studying music technology at college in north-east England, if he were tempted to rest on his laurels. Instead, however, the savvy yet modest Englishman from Hartlepool is as hungry as ever and has recently launched his own live show to complement the production and DJ components of his career. This month also sees a new EP on Dessous plus a double-header alongside Robert Dietz that is being released by DJ agency Air London. And then there are, of course, those persistent whispers of an album from the man like Burnski.
Factor in too his DJ gigs from Leeds to London and Miami to Moscow, so it was with much relief and delight that bringdownthewalls managed to pin down the busy Mr Burnham to chat about unsung DJs, his plans for 2010 and his enduring love of vinyl.
Has it ever felt like everything has happened too fast?
I have never felt like it has all happened too soon. In fact, probably the opposite as you always want to keep raising your game and improving. I think I am still improving and feel I haven’t even come close to my true potential as a musician and producer. I am always learning new things and love change. I am setting up a live show, which is all new and exciting. That’s my latest new buzz.
You debuted Burnski Live at the Back to Basic’s 18th birthday bash. Tell me more.
My live set went well. It was the after-party for the 18th birthday, so it was a nice slot. The live set at the moment consists of my laptop, controller and keyboard. I am keeping my live sets very exclusive at the moment; just playing one-offs at big events or for Back to Basics is perfect for me at the moment.
As a producer you have been pretty productive in a relatively short space of time. Tell me about your approach to making music.
I am in the studio every day through the week. I very rarely take a full day off unless I am away. Well, the odd Monday! I never work in the studio at the weekends and never have. I sometimes work on the road at weekends on my laptop though. I am very disciplined and am awake at six to seven am and usually asleep by 10pm. I am a morning person and am usually on the bus to the studio before 8am. My approach is always different in the studio. My music is fairly varied. I’ve never stuck to one exact sound really, so one day I might be making deep house and the next tougher club music. I have always been like this. I make it for myself and if and when it gets signed then that’s always a bonus.
So which do you prefer then, the minimal/techy or the deep house Burnski?
I think some people think it’s against the rules to be making both. “How come you have a slow deep house track then a techno track on the same vinyl mate?”. Well, the way I see it, I have been buying vinyl for eight years and in all that time I have never stuck to one sound. I still don’t and I probably never will. This is kind of the same set up I have as a producer. I make music mainly for my DJ sets and I play a real wide variety of music from really slow deep, dubby house and disco to more peak-time tech-house, which you might hear me playing at four am in the morning. I don’t really have any rules.
So I guess I see it all as one rather than separating things by styles. I would not like to think of myself making music in one set style all day, all week long. I would not be doing it for myself anymore if I did that. But each to their own. I’m sure there are plenty of producers who love doing just that. Fair play, but you have to stay true to yourself especially if you’re going to be spending so much time doing it. I get bored of an artist with the same sound every tune. I like to be kept on my toes a little, not too sure what to expect next. Those are my favorite kind of artists.
Some of your very first productions such as Customer Service, Expresso and Flight still sound fresh. How do you look back on those early productions and how do they compare with your current work?
Well, those are very old tracks. The first was made five years ago so my sound has changed a little. I am still using the swinging percussion and you can usually tell it’s me by the drums and melodies I use. All those tracks are quite melodic and I still like to use that in my tracks. I sometimes make more drum-based tracks, really loopy ones with not much melody but I can only do that for so long before I get bored and want to make some music.
I read that you are always happy to offer advice to producers who get in touch with you. Who helped you along the way?
I started learning music technology when I left school. This helped me get on the path and after that it was mainly myself. Reading music magazines helps I think and it’s best to read up on things regarding music production. When I started sending stuff to 20:20 Vision, Simon Baker and Ralph Lawson would help me out with advice, which used to help. Changing parts of tracks, making breakdowns and such.
Turning to DJing, what is your approach to that?
I guess it totally depends on what time I am playing and where. The only place I get to play my really slow deep records is usually if I get the warm up slot at Back to Basics or at after parties. I still play vinyl, and the occasional CD including my new unreleased stuff, which I am limited to playing on CD. My sets are always varied and no matter where I am playing you will get a bit of variation. I never just play the same sound in my sets.
You’re still very much a vinyl man then?
Yeah, I am still loving the vinyl. I do not know many still playing it. In fact I could probably count them on one hand, out of people I know personally anyway. I have always loved it and again I never think, “oh, I wonder if or when I’ll give it up” because if I do I’ll do it when the times right by how I feel. I am still going strong but I do miss having chats with mates about what new records they have got.
Many DJs including yourself have commented on how difficult it is to get bookings if you are not producing. Tell me about some of the DJs you’ve come across who perhaps don’t get the credit they deserve.
There are a lot of really good DJs in Leeds [Burnski’s adopted hometown]. I have actually been listening to a new mix from Despo non-stop for the last two weeks. I get a lot of inspiration from Leeds DJs. To name a few we have Tristan Da Cunha, James Barnsley, Tim Weeks, Denney, Jon Woodall, Ryan Shaw, Frenchy, Buckley, Simon Baker, Ralph Lawson. I get little bits of inspiration from all of them. The majority would probably get overlooked when it comes to being booked by the fact that they are not releasing music regularly. Quite often I enjoy their sets more than the headline they warm up for. It’s a shame that’s how the scene is but I guess as a promoter the motive is to fill the club and usually that is by booking guys releasing records and who are very well known.
So which DJ would you gladly pay to hear play?
I have always loved it when I have seen Josh Wink. That guy’s a legend. I would queue an hour or two to see him again.
If you were asked to put together a compilation of your favourite music, what would you include?
It would be interesting. I would pick 20 of my favourite records that I have ever bought – I’ve bought a fair few – and put something special together. It would take some time though. If I start now then I might have it done for this time next year. It would be everything from trip hop, disco, through to deep house with a bit of acid, tech-house and then onto techno.
And, finally, what about those rumours of your own album this year?
I am working on the live set at the moment and I think that’s a good step to take before an album. The concept of the album would have to be a really exciting one for me. I have always followed my heart, so it won’t be a case of thinking “oh, is it ready to do that album yet?”. I’ll know when it’s time because I’ll start doing it 100%. It would be very varied, showing all my inspiration over the years.
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January 2010