DJ Philosophy

My choice of music ranges from the beginnings of the Guardia Nueva in the 1920s, through the Época de Oro, well into the 1950s and 60s. My specialty is the music of the EdO, which for me starts around 1935 and runs to the early 1950s (more on that in a dedicated blog post before too long).

Where it fits and is wanted, I also play current, contemporary orchestras, neo-tango and non-tango. The main focus is always on danceability and on tandas that form a coherent musical unit. I put a lot of care into the micro-dramaturgy within each tanda, and beyond that into a musical arc that — depending on how long the milonga runs — gives the dancers two or three musical highlights over the course of the evening. Every now and then I like to slip in a few rarities or lesser-heard tracks, when the mood allows for it.

I classically play four-track tandas (except milonga, of course, which only gets three ;-)) in the typical TTVTTM structure. The individual tandas are separated by cortinas, which either contribute to a shared theme or tie in thematically with the tanda before or after. I also care a lot about a dedicated pause (at least 3, better 5 seconds) between individual tracks. Depending on what the organiser or the local community wants, other models are of course possible too.