Currently one of Europe’s finest house producers, British DJ Burnski (James Burnham) has a number of impressive releases under his belt (the disco-ey/techy/deep house bomb Malibu was one of the biggest tunes at Ibiza last year). He has a nomination for Best Breakthrough DJ in DJ Mag’s recent “Best of British” awards, and he’s been a resident at Leeds’ legendary Back to Basics club night since he was 20.
Besides being a frequent guest at cutting-edge European venues such as Fabric in London, Watergate in Berlin and The Loft in Barcelona, Burnski also tours in Australia and Asia this year. We caught up with him ahead of his Taipei debut tonight.
The Vinyl Word: You started producing and deejaying at a young age. Did you always want to be a DJ/producer?
Photo Courtesy of Air london
Burnski: I knew from about 14 years old this is what I wanted to do. I started off deejaying and then went on to producing. I started producing at 16.
VW: Not everyone understands house music. How did you get into it?
Burnski: I started listening to BBC Radio 1 when I was about 14 and got totally hooked on the Friday and Saturday night shows. It used to get me so excited. I would record it every single week — Friday, Saturday, and also the essential mix on Sunday morning. I really was just obsessed and ever since then have had the same excitement about music.
VW: Are you still spinning vinyl?
Burnski: I was playing vinyl and CDs up until this year, and have recently changed to Traktor. Playing records and carrying them every weekend is really hard. I have had a really busy year, so I decided to make the change recently and am really enjoying it.
VW: Tell us a bit about your residency at Back to Basics. What’s it like playing there compared with playing at other parties?
Burnski: Back to Basics is great, I have a lot of friends there and it really inspires me each time I play. I get a lot of ideas for music from playing there, and it has a great bunch of resident DJs. I think each gig is different there, and I have had some amazing nights in the club.
VW: As someone who’s young and successful in the competitive music business, what advice do you have for other aspiring DJs or producers?
Burnski: Do what you want, play what you like and make what gets you excited.
■ Burnski spins at the Bass Kitchen anniversary party in Taipei, and it should definitely be on your to-do list if you’ve been longing for a big, “non-trance” party. (It’s about time.) Tonight from 10pm to 4:30am at Pulse (Luxy), 5F, 201, Zhongxiao E Rd Sec 4, Taipei City (台北市忠孝東路四段201號5樓). Tickets are NT$700, which includes two drinks. Visit www.luxy-taipei.com for details
When the Dutch began interacting with the indigenous people of Taiwan, they found that their hunters classified deer hide quality for trade using the Portuguese terms for “head,” “belly,” and “foot.” The Portuguese must have stopped here more than once to trade, but those visits have all been lost to history. They already had a colony on Macao, and did not need Taiwan to gain access to southern China or to the trade corridor that connected Japan with Manila. They were, however, the last to look at Taiwan that way. The geostrategic relationship between Taiwan and the Philippines was established
Sept. 9 to Sept. 15 The upgrading of sugarcane processing equipment at Ciaozaitou Sugar Factory (橋仔頭) in 1904 had an unintended but long-lasting impact on Taiwan’s transportation and rural development. The newly imported press machine more than doubled production, leading to an expansion of the factory’s fields beyond what its original handcarts and oxcarts could handle. In 1905, factory manager Tejiro Yamamoto headed to Hawaii to observe how sugarcane transportation was handled there. They had trouble finding something suitable for Taiwan until they discovered a 762mm-gauge “miniature” railroad at a small refinery in the island of Maui. On
“Once you get there, you think, that’s a little embarrassing or revealing or scary... but ultimately, I learned that is where the good stuff is,” says Taiwanese-American director Sean Wang about writing indie breakout Didi (弟弟), which debuted at Sundance Film Festival Asia 2024 in Taipei last month. Didi is a heartwarming coming-of-age story centered on the Asian American experience. Not just a 2000s teenage nostalgia piece, but a raw, unflinching look at immigrant families and adolescent identity struggles. It quickly became the centerpiece of the event, striking a chord with not only those sharing similar backgrounds but anyone who’s ever
“Magical,” “special,” a “total badass:” step forward Kamala Harris, the 59-year-old dynamo who has rebranded her country at lightning speed, offering it up as a nation synonymous with optimism, hope and patriotism. For the rest of us, Kamala’s gift is her joy and vibrancy — and the way she is smashing it just months away from her seventh decade, holding up 60 in all its power and glory. Welcome to the new golden age. Hers is the vibrancy of a woman who owns her power, a woman who is manifesting her experience and expertise, a woman who knows her time has