A Sit Down with DJ Christian Burns


   Christian Anthony Burns is a British musician. Born in the family of a member of the rock band The Signs – Tony Burns. He started his career with The Bleach Works, successfully selling 3 million copies of his albums, then the band broke up, sometime in 2003, and everyone started to perform solo.

One day, Christian Burns heard the tracks of DJ Tiesto on Myspace and decided to contact him for collaboration.
Tiësto was just looking for a new vocalist for his upcoming album “Elements Of Life”. This was followed by collaboration with Armin Van Buuren, Paul Van Dyk, BT, Benny Benassi, David Guetta and Richard Durand.
He also collaborated with Benny Benassi, with the song “Love and Motion” and American singer Jes Brieden for the song ‘As We Collide‘.

“I’m just going to go out and sing to the people and enjoy it and put on a great show”

Картинки по запросу christian burns photo

   So, I listened to your album today and the first thing that struck me, aside from how great you are vocally, is that YOURS: For most of the tracks did they send you tracks that you wrote to or did you go in the studio with any of them?
  I think it’s just the British charm. It’s great to work with so many great producers, and I do understand what you are saying. I think they just like to work with me and it was really flattering and amazing that I got so many great producers and DJs on the album.

  Tell me how you had to work with BT? He’s such a perfectionist. How did you manage?

  It’s amazing, the guy is a musical genius and I’ve learned so much from working with him. He’s a really close friend of mine as well so we just love it and we spend days in the studio together just working away.  He’s got all of this amazing analogue stuff and all this gear. So yea, it’s great working in the studio with BT.

   Who would you like to collaborate with that you haven’t collaborated with yet?
Well I really like Deadmau5’s stuff.  I would really love to do something with him. You are really putting me on the spot now, I mean, all my heroes are dead.  So if you’ve got a shovel and I can dig John Lennon out, I’ll do something with him.

  What does the title *Simple Modern Answers* mean to you?
Well all of the tracks on the album are basically answers to something at some point in my brain and in my life. Each one of them is an answer to something so Simple Modern Answers is just a twist on it. That’s it.

You’ve worked with just about everyone in the world of dance music. Who would your dream collaboration be?

That’s a tough one. I like trying different things with not the obvious combination. I would really love to do some more R&B stuff and some more rock stuff which I’ve been listening to quite a bit recently. I just like changing it up. I don’t like doing the same thing over and over.


  Your music has definitely evolved over the years. When you started off with BBMak years ago, you had more of a pop rock sound. How did you get involved in the EDM world?

 It was just a natural thing. We quit in 2003 and I just started experimenting with different sounds and instruments. We always used guitars in BBMak and then I started experimenting with synthesizers. I had a band called Inhaler and then Tiesto actually got in touch with me and said, ‘I really like your voice. I’d love to do something,’ and we wrote “In The Dark” together. That was in 2007. And since then really, it’s just been kind of something that wasn’t planned for me to go into. It was kind of just something that happened. The song was a big hit for us and it led to me working with all the great producers and DJs.

For most of the tracks did they send you tracks that you wrote to or did you go in the studio with any of them? 

 Some of them I go in the studio with, some of them send me tracks, and some of them I’ll write the whole track and I’ll send it and they’ll change it. So it’s different every time really.



  • 16 April 2007 – “In the Dark” (as Tiësto featuring Christian Burns) – #133 UK
  • 29 September 2008 – “Something About You” (as Inhaler featuring Christian Burns)
  • 22 November 2008 – “Power of You” (as Allure featuring Christian Burns)
  • 21 February 2010 – “Suddenly” (as BT featuring Christian Burns)
  • 2 August 2010 – “Night & Day” (as Richard Durand featuring Christian Burns)
  • 12 November 2010 – “This Light Between Us” (as Armin Van Buuren featuring Christian Burns)
  • 28 February 2011 – “Tokyo Cries” (as Glenn Morrison featuring Christian Burns)
  • 12 September 2011 – “On the Wire” (as Allure featuring Christian Burns)


A Sit Down with


“The fact music can make you happy, make you cry, make you think about about you’re best memories is fucking incredible”

   East Coast superstars Anthony Riggi and James Piros, AKA Riggi & Piros, have been making New Jersey proud while simultaneously taking the EDM scene by storm with their larger than life sounds and massive remixes.  Not wasting any time getting their careers started, the duo started DJing at just 16, and got into production at 17. After only a year of production they had their first Beatport/iTunes release with Clockwork’s “Surge” (Riggi & Piros remix) that charted in the Beatport Top 20, an accomplishment that takes others years to achieve.

More recently, the guys have shot another video that will not leave you indifferent to their creativity..

  Anything you’d like to say about yourselves?

    We love the genre of electronic music, we started mixing music as young as 8 or 9 on DSS-DJ. Our love for music grew when we first started to go to events such as Electric Zoo and club events. From that point on we knew we wanted to be producers and make our own music the way we liked it. We’ve been doing it ever since!

How did you guys meet?

We met in elementary school. On the first day of school, we were playing basketball during recess and I threw the ball at Riggi’s head. From then on we became best friends.

What are your backgrounds in dance music, production wise as well?

We’ve been producing music for about 2 years and just recently we started to release some of our newest remixes. Now, in our best efforts, we release a new project as a weekly event.

Where do you guys draw inspiration from for music?

We hear famous DJs everyday, we have many inspirations. To name a few, there is TiëstoHardwell, and Clockwork. They have been our role models and we hope one day to be as big as them.

What do you think about the role social media plays in dance music?

The radio plays dance music everyday, its being blown up as we speak and its a great thing. Social sites such as Twitter, Soundcloud, etc. really help tracks gain major publicity. Everyone is getting on the EDM wave and we really don’t have a problem with it.

What kind of stuff do you guys like to do besides make music?

Photography, hiking, working out, cooking & when we’re in our hometown we love going to local bars with our homies!

What are your plans for the future?   

Well, sooner or later we hope to sign to a big label, but our biggest dream of all is to play in front of a huge crowd at a festival where the people come just to enjoy our music. It all seems as if it is possible now because our biggest role models are starting to support our tracks and talk to us, it feels surreal.

What would you be doing now if it wasn’t for music?                                                                                                 

To be honest we have no idea. Probably in a classroom somewhere learning about something that we don’t even care about.To be honest we have no idea. Probably in a classroom somewhere learning about something that we don’t even care about.
What was the best reaction you’ve gotten when a fan got to meet you?
We always love meeting the people that support us. One time someone got our names shaved into there head, that was sick. We always love taking pictures with people too.

 When do you usually make music?
 Everyday when we’re not on the road. We built a new studio a couple weeks ago and the only time we leave is to play shows.

A Sit Down with DJ Lautrent Gartnier

I think Techno broke the rules.  House Music couldn’t become anything else other than House.  House has to be a dancefloor thing, Techno doesn’t have to be something to dance to.  For me, ambient is Techno.

Laurent Garnier has been making the planet dance for 30 years. And, for all this time, his huge energy has seen him grooving behind record decks, bouncing up and down behind studio equipment and leaping around radio studios. He is a multi-faceted artist whose impact on the music scene is far-reaching. But above all, he is a DJ, a true DJ: transformed by music, passionate about the crowd. Bodies move in a trance on the dance floor, minds elsewhere.

Laurent spends most of his spare time sifting through old vinyl in record shops, following the most obscure leads on the Internet and listening to every single piece of music he is sent. Music, the pulse of our planet, is his Holy Grail.

He then proceeds to cover the history of House and the demise of Disco, just for good measure, before coming back to the original point of what makes Techno, Techno.
And then he puts the genre topic to bed with characteristic controversy:
House is not a way of life – House is just music.  It’s good music, I love House, but Techno is much deeper in the mind.  House today is only a branch on the tree of Techno, and Techno has bigger roots.  For me, House is part of Techno, but Techno is not part of House.
    When I started producing, I was still a DJ that was producing a little bit of music, but I was not a musician.  And one day with my partner Eric I said ‘I’d like to go on stage.’  And we thought ‘how can we make a real live show?’ and I said to him, the best thing is Jazz.  We went to Jazz musicians, because they can improvise.
It all goes back to Jazz.
    “It took me a long time to get the right musicians.  Finding the right musicians is a hard thing, especially when you’re 25 years old and you haven’t got a clue how to play an instrument, and you haven’t got a clue how to direct anybody.  Believe you me I struggled, and it took me 20 years.

No doubt travelling around the world so much, it’s hard to keep up with how your fellow artists are doing. Who’s been catching your eye recently?

Lately, I haven’t heard anyone super new. I played with a lot of people of course, but a lot of people I knew. I would say a few of the young guys from the new generation from France which are into underground House and underground Techno like Jeremy Underground and people like that which I think are very exciting music wise the way they play and the way they fight for their music. There’s a whole new generation in France which is inspiring for me.

It seems Techno has had something of a renaissance over the last few years, and it’s popularity has never been so widespread.Do you think techno of the last few years will be looked at with the same love?

I think some will stand the time for sure. I’m sure. Yeah, there’s some timeless records made in the last 10 years for sure, for sure. For me yes, I can see that, because these records I get to keep them in my record box and it’s quite a lot of stuff over the last 5 years I can’t delete, you know. I keep them in my box and I still play them once in a while and for me, they’re becoming classics. New classics. I think for the last 30 years there’s been kind of classics coming out but again, as I said before, because there’s been so much production that it’s harder now to surprise people and that’s why there are so many more classics from the early 90s than from 2010.

How did you manage to capture the interest of the new techno generation?

Maybe because I stay sincere. But I am the most stunned of all to see the young techno generation’s interest in me. I noticed it with Modeselektor. In the same way I was the first to be surprised that Motor City Drum Ensemble wanted to put my songs out on his label. For each label who welcomed the Garnier project, I wanted it to be clear and I said to them: ‘Release the 12” because you like the music, not because it’s Laurent Garnier!’

How do you choose the clubs where you play?

I only play the places I want to. I have the enormous luck to be able to choose. And I turn down places that talk money before talking music. Money has never been my priority. My only drive is staying motivated behind the decks. So I choose the places which seem exciting to me. Plus, in any case, I play less now. I don’t have such a packed schedule. I’m not 20 anymore, I have a family life.

Do you get different requests: to play only house or world music?

Sometimes yeah and I love that. It’s three years now that a guy has been contacting me for a hip-hop set. I’m going to do it! No doubt! But at the same time, there’s a risk of being imprisoned in one style alone. In my sets I like to mix genres. Techno is never so good as when it’s played with other music!

Do you ever feel constrained by a certain kind of techno that clubbers expect?

Whenever I feel like a prisoner, I do a u-turn. I develop my set. I try to bring the clubbers towards something else, but smoothly, gradually. By gentle suggestion. You always have to find the right songs, the escape routes.

It’s good to know that Garnier is using that systematic, trainspotter’s mind to try and innovate with his music and his performance – it’s the kind of output you’d associate with a mad creative that doesn’t know what day of the week it is, not someone as conscious as he is.  We’ve all seen those ‘conscious’ DJs who have a great grasp of how the system works and who basically make an entire career out of playing it.  They have their style, they have their sound, they have their own label that churns out the same sound, they happily take their £1,500 per set, and they have a perfectly good career.  If Garnier put his mind to it, he could do that, but thankfully, he loves to challenge himself far too much for it to ever happen.



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