DJ Stimulus won’t make the economy any better, but he will be hosting a new weekly party, along with DJ Dhundee, called Gravity and beginning tonight at Santos Party House. The veteran spinner talked with New York Press about his new party, Michael Jackson and the new dynamics of City DJing.
What’s your vision for Gravity?
The vision is really a sound journey. We want to take our core group of people and lead them and expose them to a lot of what’s new, a lot of different stuff from the underground dance scene. We know there are a lot of people who are already into this kind of music, so we want to tell those people there’s an outlet for this kind of music. We just want a place where all of that under one roof. There are going to be live bands as part of it, too.
Is it difficult creatively to be a resident DJ? Does it become difficult to keep things fresh?
To me, it gives you more of a chance to experiment. There’s always the same core group there. It gives you time to lead the crowd. You’re with them every week, and they go with you. You can get them to trust you. It was like that at the Monday night residency I currently have.
Having a residency allows you to do what radio programs do. You break a new record. If it isn’t playing well, you pull it back. It makes sure you don’t have to do the tried and trusted stuff, like you would if you have a once- in-a-lifetime two-hour set on a Saturday.
What defines your music? How would you describe yourself?
My style is to show people how things connect. I will do blends based on words or, for example, if the syncopation on a record by Knife connects with something people know very well like Kanye, I’ll play with that.
My style makes sure people are constantly reminded of the outer edge, where the left field stuff gets its inspiration. I love Michael Jackson, may he rest in peace, man, and I love Stevie Wonder. But it’s 30 years later. Are we going to listen to this stuff at parties forever? I love 90s hip-hop; it was dope. But there’s been a lot of dope hip-hop stuff since. Just because you don’t know the words doesn’t mean you can’t party to it.
What makes Santos an attractive venue? How does it compare to other places you’ve worked?
First off, the sound system is amazing. As a DJ who tours, I know one of big knocks everyone has against New York is that we have these great clubs and crappy sound systems. At Santos, you come in, and it’s a wood floor with no finish on it. There’s no VIP section, just a big dance floor with big, custom-tailored speakers ready to thump.
They’ve already been this outlet space for our kind of music—the kinds of DJ and types of bands that are younger, on-the-rise stuff. They don’t take what what’s already tried and true from two years ago and just bring it to a new location. They came to us and said. ‘Hey, we’re interested in you because you’re up and coming,’ and they came to one of our shows, too. That’s a really good feeling. It’s nice to work at a club where it isn’t run in seedy smoky room. They’re upfront and honest, and they’re really dope.
How is the New York club scene in general? Any great or shitty new trends?
I would definitely say one of the themes I’m seeing is—which is related to us getting this show—the theme of DJs and their own followings. These followings are based on the music more than the scene.
I used to be a Friday night at Cheetahs. During those times, from 1999 to 2005, in general, many people didn’t care about a DJ with a particular following. It was all ‘what is your approach to mixing top 40 records?’ The theme in all the clubs was the scene. If you had DJ X, and DJ Y had comparable skills, no one cared. Now it’s more about ‘what’s your brand? Do people come to hear you?’ It’s turned into who has a following.
So what’s your favorite up and coming music, and what’s your favorite Michael Jackson song?
My favorite genre that’s coming up right now is Dubstep. For an artist, it’s Rusko. My favorite MJ song would be ‘Get on the Floor.’
