New York DJ

When many people think about how a DJ enlivens the vibe of an event, they think of beat and rhythm – whether that means these are mixed together in a way that is great for dancing, or, at an event that involves primarily mingling, they are mixed together to create an atmosphere that subtly makes itself welcome with the crowd. However, a DJ’s command of melody and mood – especially with the spectrum wildly different melodies and moods found in the immense variety of music New York City clients often request – can be just as or more important to elevating the level of an event.

When we meet with clients to help them plan the musical flow of an event, many know what they would like the overall mood, or at least part of it, to be. Song meaning and lyrics are often not as important. (For more on lyrics and meaning, go here for our first post in this series). These clients don’t mind if a song has an ambivalent meaning or may have some lyrics that conflict with the mood of their particular event, just that this doesn’t pierce the mood. For example, if a client wants a vibe that features roots reggae tunes to introduce a sunny, mellow vibe, they might not mind if a song here or there has downbeat lyrics, as long as the song fits the overall atmosphere of the event

Mood is important in different ways at different kinds of events. For events that primarily involve mingling – like guest arrivals at fashion shows, or corporate party and wedding cocktail hours and dinners, or in-store promotional events – a mood can be sustained longer and often explored deeper. For events involving dancing, the mood tends to need to be changed more quickly, as crowd feedback to the songs is more direct. If the crowd really likes a change in mood, DJs will likely go with this for a bit, and then after a bit, move on to another mood to keep the anticipation and the energy up. But even here, the mood can be one that can be lingered in. For example, if there is a theme to your event, such as playing 80s music, the DJ can explore the many different sub-moods of this genre, from sexy R & B, to dark synthpop, to edgy punk.

If an event organizer is a bit unsure as to what mood will work best, or if the mood they want to create will work for their guests, we often help by asking what kind of songs the event organizer thinks their guests will like. We can quickly see from the songs or genres given what the most successful moods could likely be, and from there we can work together to fine-tune or introduce new ideas for moods to create based on the organizer’s suggestions.

Where mood is an overall element, melody usually comes into play at events as being the “icing on the cake” of the mood. For example, at events where the primary goal is mingling and conversation, the melody makes the mood more specific – offering a festive, or ethereal, or whimsical (and so on) take on the chosen atmosphere. The beat of a song is what people grab onto, but melody is primarily what keeps people’s attention at these events. Because subtleties of lyrics are often lost in the noise of conversations, and because a repeated beat can get familiar after a while, a satisfying melody is what rises above to be noticed and latched onto from song to song while not interfering with the mingling. (If you’ve ever been in a hip restaurant/bar after around 11 p.m. in Manhattan, you will often hear house-ish music that seemingly only has a beat and nothing else over it – it’s okay to hear for atmosphere, but kind of boring after a couple hours.) In other words, it’s both a good melody and a good beat that makes guests tap their toe or bob their head while waiting for a drink at the bar.

At events that involve dancing, melody is of course more integrated with lyrics and most of all a seductive beat to create mood, but even here, in certain moments, the melody can take the lead. An example of this is when a DJ slyly throws on a cool but obscure cover version of song that he or she thinks the crowd will love. The melody of the original song needs to be somewhat intact for the song to work, especially if the DJ is spinning to crowd that isn’t as adventurous or open to quirkiness as club or bar crowds in, say, the East Village or Williamsburg. Another example is when the DJs spins remixes and mash-ups. Whether at a club or at a corporate party, altering songs too much can be frustrating if it ruins the core instrumental or vocal melodies (like riffs and choruses) a crowd craves when partying. Sometimes the mood of an event is one that will call for mostly non-remixed original versions of songs, and sometimes the mood will demand more severe remixes and stylized effects such as loops or wobble bass drops to keep people’s attention. A great DJ, no matter where they are playing or at what kind of event they are performing, will tune into the crowd quick and find the level of altering melody that will add to the vibe and not take away from it.

Since each song – and sometimes genres – have their own melodies, and what is a satisfying to one group is sometimes not to another is another reason we consult with the event organizer to see what kinds of songs and genres that their guests might like, and from here we can build a playlist that will use melodies in the ways described in the previous paragraphs to their fullest effect, and to ensure a better chance of creating a great event.

Coming next, Part 3: Beat & Rhythm

When clients are having events that involve mainly modern lounge music - such as cocktail mixers, corporate meet-and-greets, or new product showcases - they often know the music style they want, but can't exactly describe it. They'll say "chillout” or “ambient” or “background.” But they usually add, right after, that they don’t want it to be boring, as if modern lounge music implies boring.

And while that may not be true, clients are right to be concerned. We’ve all been to places - cocktail parties, restaurants, retail stores - where the background music is a monotonous mid-tempo beat with nothing more to it, so it’s no surprise that when it comes to planning an event that includes new electronic lounge music, many think there’s a thin line between captivating and forgettable.

We've found over the years of DJ-ing at events in and around New York City involving mostly lounge music that the songs should elevate the atmosphere, but at the same time, not take it over. The purpose for these cocktail-driven events is firstly be able to converse comfortably and - with the exception of a head bounce here or a hip shake there - have the music make you want to continue that conversation, not get in the way of it. When we tell this to clients, they say that description is exactly what they were trying to say they wanted from the music. For a lot of DJs who aren't experienced with it, though, lounge music like this - that doesn’t overpower but isn’t anonymous, either - is some of the most difficult to find.

Many DJs, when it comes to spinning ambient music at any kind of cocktail party, play a mix of songs that have the lush, sleek afterparty vibe of CD compilations popular over the past decade, such as the Café Del Mar or Buddha Bar series. While these compilations have some great tunes, they are made mostly for afterparties - meaning when the main party is over. When this music is played as a party is just getting revved up, it often feels too chilled-out, or not upbeat enough. This is where the concern that new lounge music is boring comes in - clients often tell us they’ve been in that situation as a guest a lot, and don’t want it replicated at their party.

The great thing is, there are plenty of songs we have found over the years - and we continue to find every year - that satisfy this “sweet spot”, but it takes a lot of searching to locate it.  You often won’t find much of it on the popular "chill-out" compilations mentioned above. You have to dig deeper into the genre, and sometimes outside of it entirely, to find that perfect lounge tune that elevates the vibe of these type of cocktail-driven parties to create a festive, or sexy, or whimsical mood for a bit, but that doesn’t ever "overdo it" and become the center of everyone's attention.

Below are three modern lounge songs that are great examples of this feel, and that each work because of different elements - showing that even within the narrower range of upbeat yet unobtrusive lounge music, there is a spectrum of sounds and atmospheres. The first, J. Axel’s “Every Part of the World,” uses a subtle but catchy melody and hint of airy vocals to create a sense of sexy rising energy. The second, Gerardo Frisina’s “Gosto De Que E Bom,” features a sly samba vibe that’s festive but never overwhelming. And the last song, a remix by Fort Knox Five of Torpedo Boyz’ “Are You Talking to Me,” takes a vintage-sounding R &B vocal riff, along with some organ and horn riffs, and deftly uses them to energize the song's beats and give the tune a touch of grittiness and warmth.

J. Axel - Every Part of the World

Gerardo Frisina - Gosto De Que E Bom

Torpedo Boyz - Are You Talking to Me??? (Fort Knox Five Remix)

We’ve DJ-ed many events where we’ve spun Arabic pop music – from weddings to corporate parties to recently a celebration involving many guests from the United Nations. At these events we often mix a range of styles and time periods - from the Western-influenced songs of modern performers like Amr Diab, Alabina, or Nancy Ajram, to vintage tunes by older but beloved Arabic pop singers like Fairouz, Dalida, or Hakim. Much of the time at events featuring Arabic pop, we find client requests tend to be either from Egypt or Lebanon - for example, all the artists just mentioned are from or have deep connections to one of those two countries. We’ve featured posts on some of these artists - go here to read one, and here to read another. Also, many Egyptian and Lebanese (as well as Moroccan) performers are also featured here in an Arabic music playlist we compiled.

Some of the reason for Egyptian and Lebansese pop being very prevalent comes from the immense popularity of many Egyptian and Lebanese artists around the Middle East – since in particular Egypt at times has been more permissive than other Arabic countries of pop music expression and its themes and performers, more artists have developed there. Also, those who leave the Middle East to settle in other areas of like New York bring their musical tastes with them, and since Egypt is a large producer of Arabic pop, expatriates will likely have heard it and may recall it fondly.

But in a city as big as New York, with so many cultural backgrounds, we don’t always spin Egyptian or Lebanese pop – sometimes we include (and clients request) Arabic pop from other countries from the Persian Gulf area, and we're grateful for this chance to diversify our Arabic pop selections. While performers from Saudi Arabia, Kuwait or Iraq may not dominate the Arabic pop music world, we’ve found there is plenty of excellent artists out there to from the Persian Gulf region to be spun at all kinds of events featuring Arabic music, or dropped in now and then at events not featuring Arabic music specifically if a festive, romantic or exotic vibe is needed to take things in a slightly unexpected direction. Below are some great songs from the Gulf region, most released over the past few years.

“Halla Besh” from Saudi Arabian singer Abdelmajid Abdullah (pictured above), is traditional-sounding – it uses Arabic beats and instruments and a sweeping strings melody instead of the electronic dance elements that many Arabic performers have incorporated into their songs over the past generation – but its grand and orchestral - yet loose - feel make it ideal for a moment when you're kicking off a party, or resuming a dance set and you want to include all generations of guests:

Abdelmajid Abdullah - Halla Besh

Saudi singer Abdel El-Girini incorporates elements of R&B, hip-hop and electronica in “Baheb Ashoufak,” which, while taking a cue from artists like Ne-Yo and Usher from its production, still sounds exotic. It should appeal to fans of both Top 40 American and Arabic pop:

Abdel El-Girini - Baheb Ashoufak

“Shabab We Banat” by Kuwaiti group Miami Band (pictured right) from Kuwait, alternates a sunny calypso and soca vocal with a bright Arabic vocal to create a song with an expansive celebratory and uplifting feel:

Miami Band - Shabab We Banat

“La Titnahad” by Iraqi singer Kathem Al Saher is a great tune that blends Latin-sounding horns with a thick Arabic beat and an impassioned vocal to create a nice and warm celebratory vibe. This song was remixed by British-based world music electronica group Transglobal Underground, so some of your guests may recognize it a bit:

Kathem Al-Saher - La Titnahad

Sirvan Khosravi, an Iranian pop singer who, in 2009 was the first Iranian pop artist to have a song chart in Europe, here performs a tune called “Na Naro” that pulses along with a lush, sexy, late-night house beat and a seductive piano melody, and just might be the most accessible song here to those unfamiliar with Arabic pop:

Sirvan Khosravi - Na Naro

Chairlift are one of the more prominent bands often lumped in with the hipster-favorite genre "chillwave," characterized mainly by its heavy use of '80s-inspired new wave synthesizer washes coupled with bits of homemade electronica touches, from skittery dance beats to ambient nature sound loops. Because of this, chillwave often has a more messy, cobbled-together, and at times endearing feel that balance out its slick new wave influences and - at its best - make this emerging style sound new and fresh.

Just because Chairlift are often considered "hipster cool" though, don't think you haven't heard of them. This Brooklyn-based band got some short but heavy exposure that gave them a bump to near-mainstream pop notice a few years ago because of their fun synthpop tune "Bruises." You probably know it not by the title, but by the lyrical riff "I tried to do handstands for you, I tried to do handstands for you" sung to a bright, catchy melody.

When it comes to not only chillwave acts, but most artists inspired by the new wave or new romantic sound of the '80s - from really popular groups like The Killers, to moderately-known bands like La Roux (read about them in a post from this blog here) to more obscure ones like The Mary Onettes (read about them in a post from this blog here) - their songs usually either feel "influenced by" or "derivative of" their inspirations. The former often means a song takes a cue from the genre but makes it into something original and alive, while the latter just sounds dated and flat.

"I Belong in Your Arms", from the group's new album Something, has so much of an '80s feel that it shouldn't sound so alive and fresh, but it does, and therefore impressively makes wondering whether it's the most original sound or not unimportant. Like "Bruises", it's great because it simply sticks in your head with bouncy verses and a uplifting chorus that resides in that sweet spot of being catchy and fun but not too cutesy or cloying. This new song, though, is not a simple re-hash of "Bruises" - there's a bit less quirkiness, and a bit more sexiness. Plus, you'll no doubt be into this song right away if you're a fan of New Order of the Cure  - the chorus here has a soaring beauty reminiscent of the best New Order songs, and singer Caroline Polachek even does a yelp and that Robert Smith "happy growl" thing with her voice that seems straight out of the Cure's "Lovecats." But ultimately, even if you don't know the styles that may have inspired the song's sound, this tune will win anyone over with its giddy joy. It's a song that simply but completely captures the feeling of being in Big Fun Love; it's like a little kid who's dancing and goofing around for you so much that after a few moments you can't help but smile.

Because this song goes down so easy and never "gets in the way" by being too bass-heavy, but also always feels lively and fun, it's perfect to include almost anywhere - from events where cool and interesting background music is important to setting a mood, like cocktail parties and slient auctions, to places where music is much more on display, like clubs, fashion show runways, and dance floors at indie weddings.

Have a listen, and whether you call this song new wave, chillwave, indie electro-pop, or ditch the labels and simply call it just catchy and fun, I think most anyone will agree that "I Belong in Your Arms" is quite easy to embrace.

Chairlift - I Belong in Your Arms