[gossip session] | dj/producer john bourke swaps Oklahoma City for New York City speed
Tuesday, July 14th, 2009
John Bourke - photo courtsey of Matthew Isaac
A few weeks ago I touched on the idea that it takes very little to be called an “artist” anymore. In a world where you can learn virtually anything with the click of a button, the margin to distinguish between amateur and professional is quickly getting smaller. DJing in particular is an art full of misconceptions. While I would never call myself a DJ by any means (my play lists are as manic-depressive as I am), because of my network of friends I have a small working knowledge of what’s required to keep a party moving forward into the waiting arms of dawn. In this case one is required to own a mental Rolodex of songs spanning decades and a near spider-sense of anticipation for the sweating mass in front of you. Both DJ and dancer have a sort of symbiotic relationship—because they move you sustain momentum, and if they aren’t moving then you aren’t doing your job.
John Bourke is a 26 year-old DJ and producer based in Oklahoma City. He’s also one-half of the sleazy, electro-punk duo Trash Yourself (alongside another Oklahoma native, Heidi Cannon). Although he’s considerably younger than powerhouse DJs such as Tommie Sunshine and DJ AM, that hasn’t stopped him from playing some of the hottest parties of the year, including SXSW in Austin and Debonair Social Club’s 4-year anniversary with Dark Wave Disco in Chicago. Even mega-companies such as Warner Brothers and Capcom have licensed his services.
Not bad for a boy from a state where there isn’t much support for the electro/house scene. Consequentially there isn’t much competition either, and what talent you’ll find has banded together under the name Dance Robots Dance, a self-proclaimed “international DJ collective based out of the unlikely state of Oklahoma.” DRD hosts a hugely successful dance party called Robotic every Wednesday at Kamps in Oklahoma City. While it might not seem so superficially, this is a lesson every artist would do well to learn: If you can’t find a home for the art you create, then build one.
I spoke with John shortly after he’d finished producing a few tracks for the upcoming Kill Hannah album, Wake Up the Sleepers, and discussed Trash Yourself, what makes a “good” DJ, his influences and getting the hell out of Oklahoma.
“Oklahoma isn’t a great place to network for dance music.”
Julie M. Tate: Since the majority of us only spend time on the dance floor and not behind the tables we only have one side of the party. What prompted you to start remixing/producing?
John Bourke: Just loved the music. Pretty much as simple as that. I loved electronic sounds and wanted to figure out how to make them.
JMT: Describe your first DJ set.
JB: Man, I can’t even remember. I did some Live PA and band stuff before DJing. But the first one I can remember was at this club Sanctuary in OKC that (DJ and Rise Up Productions founder) Unadave was running. I was playing breaks at the time with (Sanctuary resident) DJ Phenom. We had been producing music and then he invited me to DJ with him. I didn’t really know the mixer that I was using but I made my way through it with maybe a bad mix or two.
JMT: As far as DJ’s go, you’re not necessarily “unknown.” Warner Brothers has licensed your music for the Matrix DVD box set and Capcom has licensed your music for Final Fight: Streetwise. Do you make certain songs to cater to outlets like this and others for the dance floor, or do corporations generally come to you?
JB: Anything I have done licensing-wise was in a situation where they approached me to license a song. I haven’t ever really made music specifically with film or TV in mind—I’ve just been lucky enough where someone thought it fit their format and sent me an email.
JMT: With acts like the Shiny Toy Guns and the infamous Flaming Lips, Oklahoma has seen its share of talent succeed outside these southern walls. For electronic/experimental acts do you think it’s wise to aim for the outside market or try and build around a relatively untapped market here in this state?
JB: Well, its sounds so cliché now but with the internet you can really do anything from anywhere. Oklahoma is a great place to live and write but there’s a plateau here—you can’t network and meet people that are excited to help you build your career. You really have to get out of here every once in a while to network. Oklahoma isn’t a great place to network for dance music.
!Trash Yourself live at Debonair Social Club, 2009. Photo courtesy of darkroomdemons.com
JMT: Did it take long to “come up” in the scene here? Although you’ve been DJing for eight years, your band Trash Yourself is still relatively new. Was it easier because of said market or more difficult because it isn’t as promoted in Oklahoma?
JB: We still haven’t ever played a Trash Yourself show in Oklahoma City. Kinda weird I guess. We play all over the country, but there hasn’t been an occasion here that’s been appropriate I guess. We usually only do really crazy electro parties or large events like massive raves. It’s almost easier in a sense for people in other cities to dig on what you do.
JMT: Trash Yourself has gained recognition from SXSW to playing the 4-year anniversary at Chicago’s Debonair Social Club. How do gigs like those generally come about? They aren’t exactly low profile.
JB: A lot of it is just traveling and talking to people. There is a lot to be said for meeting people face to face. We kind of have a good rep from throwing parties in OKC. A lot of people know me from that. Hopefully people enjoy the music also and that’s why they call on me to play their party.
“It is important to be surrounded by people that know more than you at your craft.”
JMT: You’ve co-authored songs for the Shiny Toy Guns and currently have wrapped up production on some songs for the new Kill Hannah album coming out in September. How was that experience?
JB: Chicago was great! I had a lot of fun with all the guys. The studio we worked in was amazing. It was a legit major studio. (Chicago Recording Company) Smashing Pumpkins recorded their albums there so we were in the rooms that songs like “1979” and “Tonight, Tonight” were recorded in. It was very inspiring, I learned a lot from the experience. I hung out with Shiny Toy Guns in LA when they were recording their last album at NRG studios. That was pretty rad too. It is important to be surrounded by people that know more than you at your craft. That’s one thing that’s been hard about living in Oklahoma—there isn’t much of an artist community for musicians.
JMT: How does producing other artist’s music differ from producing your own? Aren’t you working on the debut record for Trash Yourself?
JB: Well for the Kill Hannah project. The singer Mat (Devine, lead vocalist) had the songs written but only had demo mixes. There were just really roughly made on a keyboard with few tracks, and a rough vocal. My job was to recreate the parts but with updated sound and feel. So it was more polishing everything, detailing, and adding textures rather than writing. I tried to keep the integrity of what Kill Hannah wanted. Greg (Corner, bassist) sat in on several sessions with me so that I knew it was going in the right direction. With Trash Yourself, I just kinda do whatever the hell loud noisy music I want.
(For a preview of John’s work in the studio with Kill Hannah, download the track “New York City Speed” from their upcoming album Wake Up the Sleepers HERE. You can also download John’s remix of “Crazy Angel” from the album Until There’s Nothing Left of Us, HERE. Links used with permission.)
!Trash Yourself with Greg Corner of Kill Hannah, 2009. Photo courtsey of darkroomdemons.com
JMT: You’ve worked on more than one occasion with wunderkind the Toxic Avenger, a self-proclaimed fan of Weezer and The Smiths. His history also includes playing in various punk and hardcore bands throughout the years. Do any of your influences fall outside the electro/dance scene?
JB: Yeah, definitely. My roots are industrial from when I was like 15 or so. I was a big NIN fan. Unfortunately I don’t have much time to listen to music other than dance music right now. I did just get the M83 album Saturdays = Youth, which I love. Chad (Petree, guitarist/vocalist) from Shiny Toy Guns made me get it. I suggest all of you do too. My next project will probably be a band that falls somewhere in between Cut Copy and M83.
“…maybe you don’t have to be on MTV anymore. There are other ways to gain fans now.”
JMT: The DJ/house culture has been around for years and sometimes is responsible for launching a sub-par song into the mainstream. That being said, do you feel the scene could get/needs more recognition or is it doing fine with the momentum thus far?
JB: I think with people like the Crookers blowing up and having their remix of Day N Nite played everywhere, things are going pretty good. That’s an example of what a remix can do. That remix was everywhere. It got so big it eventually made the original popular about a year later. When I was in Chicago Crookers played at a theater there and had over 3,000 people come out. Other major rock acts weren’t getting that many people there. Just shows that maybe you don’t have to be on MTV anymore. There are other ways to gain fans now.
JMT: Speaking of the popularity of remixing, so-called “DJ Schools” like DubSpot in NYC have reportedly seen a major increase in enrollment, in part due to the recession and partly due to the fact it’s “hip” at the moment to be a DJ. I think the mainstream consensus is if you own a CD collection you can DJ as well. Do you believe someone can be “taught” to be a good DJ?
JB: Teaching helps, but I don’t think its at all necessary. If you want to learn something you will learn. It is really as simple as that. There are so many videos on Youtube, and magazines that teach you anything anymore. Almost everything I know about engineering audio is from the internet and mags at Barnes and Noble. There’s no secrets anymore. This is the Information Age.
JMT: While you still regularly hold down DJ sets at Robotic in OKC, are you trying to make a move as well? Heidi splits time between NYC and OKC, and Fellow Robotic DJ Joshua Distance has already made the move to Austin, TX.
JB: I’m definitely ready to move. I need a change of pace. Either LA or NYC…or both. I just have a few things I’m trying to take care of here first. I fly a lot though, so I’ll always be making stops in OKC.
(John Bourke is currently on tour. For a list of tour dates click below or visit any of the following sites: !Trash Yourself on Myspace, John Bourke on Myspace or John Bourke on Twitter)
