Ariana Paoletti’s transformative journey through sound has certainly brought her changes in scenery. From her formative gothic years to becoming the DJ known worldwide as Volvox, it has been her undying passion for music that continues to drive her. A Portuguese saying goes, “O amor é algo eterno; o aspecto pode mudar, mas não a essência” – Love is something eternal; the aspect may change, but not the essence.
She was born in São Paulo, Brazil. But when she was two years old her family moved to the United States due to the country’s 1987 debt crisis. “Just days before my family was set to move the banks shut down and kept everyone’s money, including my parent’s entire savings,” she says. “They arrived in the United States with a little more than $2,000 to their names, but my American grandparents took them in and helped them get started in Buffalo (where my mother was from).”In Western New York on the Niagara River sits Buffalo, a small and gritty rust belt city only a stone’s throw from Canada. Not only was Buffalo’s rave scene strong in the early 2000s, the Queen City brought life to various famous underground artists and was also home to a very prominent hardcore scene (most notably Everytime I Die). “I had a great time growing up there and was never bored,” Ariana says. She attended Amherst Central High School, just east of downtown proper. She was a vocalist in a punk band, and from 2001-03 she played keys and performed vocals in EBM-industrial band Process of Elimination; they would open for international Industrial acts locally and in Rochester, N.Y.
“There was a venue called the Showplace Theater that was in a crummy part of town that would let us host our own shows but we had to buy tickets from the venue and resell the tickets ourselves to cover the overhead of the event. So imagine a bunch of goths pushing tickets on their friends, almost monthly. It was a hassle but we loved it! Many times we just paid for the tickets ourselves and let our friends come for free. We were all under 18 at the time so these shows were the best option we had for going out and having a scene,” she says.
A pivotal place that defined her teenage clubbing days was The Continental, a now defunct goth/punk dive bar that was located downtown at 212 Franklin Street. “It had been open since the ‘80s and was the de-facto home of the underground/alternative scene in the area. It had a performance stage on the first floor and a dance club upstairs. It was dark and dirty and smelly and sticky and beloved,” she says. “The funniest thing I remember about the club at The Continental was that the dance floor was the width of the building but relatively narrow, the long side was mirrored and so everyone in their goth finery would dance and preen facing the mirrors, checking themselves out and the others behind them! Eventually my band played there once or twice, which was pretty exciting for me as a teen.”
It was a space unlike any other in Buffalo, where fetishism could be expressed freely and the dark electronic music ranged from postpunk, Industrial, and EBM. “Occasionally they would host touring band shows that were 16+ and I would hide in the bathroom to avoid being kicked out before the 18+ club night started afterwards. I specifically remember an Ohgr (Nivek Ogre of Skinny Puppy solo act) show in 2001 that was a big moment for me. Ogre was the most famous Industrial music figure after Trent Reznor of NIN and Al Jourgensen of Ministry so this show coming to Buffalo was a huge deal.”
When it comes to raving Buffalo is primed for it. Similar to Detroit, the city relied on manufacturing (particularly with Bethlehem Steel) and saw a rapid socio-economic decline along with deindustrialization. Homes began to disintegrate and many spots in the city became ghost-like structures, only to be inhabited by temporary new life.“Just before I went totally goth I started attending raves in the area with some friends – Buffalo had tons of abandoned spaces along Main Street downtown and also in Fort Erie and Niagara Falls. The first rave I ever went to was in 2000, put on by local promoters Phlux and it was a MASSIVE affair held at the Niagara Falls Convention Center. My parents drove me there and picked me up at noon the next day. I had never been to any dance event on that scale and I still distinctly remember walking into the massive main room, it was so dark and large you couldn’t see the ceiling, or the end of the room. It was a proper classic rave with multiple rooms each a different genre including a chillout room. For a while my parents drove me to and picked me up from these events to ensure I was behaving responsibly. Indeed at this time I was still naive to the world of drugs; I was just thrilled to be able to dance for eight hours straight! There were many raves I attended around that time but Groove Attack was by far the largest and most memorable.”
When school wasn’t in session Ariana would perform The Rocky Horror Picture Show each Friday night at the Amherst Theater on Main Street, a staple to this day for new art films and re-screening classics. “Nearly our entire cast was from my high school. I had very horrible acne on my face and back at the time that I was extremely embarrassed about it but performing in various states of undress with these folks helped me feel more confident about my body and how I looked! My mom would drop me off at midnight and watch X-Files at home until 2 a.m., she’d then pick me up when our show was over. Once I had my drivers permit I drove myself and my friends home from these shows as my parents were very sick of staying up so late,” she says. “I had stellar grades and was very serious about school which is why my parents were always so accepting of my nighttime interests!”
Upon graduating in 2003 she was deciding between Boston or Chicago; she chose to attend Massachusetts College of Art and to continue clubbing unhindered. “I was already well entrenched in the Goth clubbing scene by the time I turned 18 and indeed I chose to move to Boston over Chicago because the minimum age for clubs in Illinois is 21 whereas in Boston it was 19+ at the time. Club life had already become my main interest and there was no way I was going to put that on hold for three years!”
Through Livejournal she ended up connecting with Angeldustrial, a local crew throwing events at Cambridge goth-club, Manray. “They welcomed me with open arms into their midst. I became a part of the crew, eventually joining their fetish-leaning dance performance troupe” for about a year after her move. “That was the beginning of my professional involvement with clubs, as I made the transition from spectator to performer.”
Angeldustrial’s core beliefs include “raising cultural discourse through high technology and blending social circles for greater DIY networking.” These friends got Ariana to start DJing in 2006 with a group birthday gift organized by her friend Jenn – a Numark CD Mix 2. Koren (aka DJ Punketta) helped get her first DJ gig at Redline, a Harvard Square bar that’s now closed. But before she started learning the craft she was being molded on many Manray nights in the dark corners of the club.
Manray was an integral space for the Industrial/goth scene from 1985 to 2005; its name derived from the Dadist artist. Although it has been more than a decade since closing, Ariana can still visualize the space vividly. It was “a sprawling old-school style club with several rooms, a main dance floor, second dance floor, lounge with its own bar and a downstairs with men and womens restrooms, coat check and a large dressing room. Manray’s main dance floor had a second story DJ booth so the DJ was totally out of sight, but looming over the dance floor. There was a phone booth in the corner you used to request songs from resident DJ Chris Ewen. There was a large stage that hosted many famous bands and also the dance/fetish performances. The main room was sonically dedicated to goth, rock, and ‘80s synth. Swishy stuff that trad(itional)-goths loved to swoop around to in a flourish of velvet, point toe boots and clove smoke. The second room was more of my domain, focused on EBM, industrial and alternative electronic sounds with a decidedly more cyber-futuristic and European slant.”
As Manray closed its doors in 2005 the local scene fell along with it, although some of the club’s events continue elsewhere to this day.
Eventually she “made the transition from goth/industrial to electro/techno.” A party called Hearthrob – which took place every other Tuesday night at The Middlesex Lounge – is where she sparked a residency with Make It New. Hearthrob is also where she met “an entire small village of people that now live in NYC all met there, including NYC lighting designers Michael Potvin and Kip Davis, Unter’s Olga Romanova and KUNQ’s False Witness.”
“I ditched the black and went full on new-rave as the noughties rolled on into the blog-house era. Soon after I was asked to become a resident of Make It New, the weekly Thursday party at The Middlesex thrown by the Basstown crew. The people I met there showed me that you didn’t have to be ‘an adult’ or established to throw a great party, and the Boston electronic scene as it was now basically grew up around the Hearthrob and Basstown parties.”By 2008, freshly graduated with an art degree in hand, she decided to attempt living in Berlin. “By then I knew Techno was my life and so I had to get to the motherland. I remember the first time I went to Berghain was in 2008, as I heard it was a pretty sweet fetish/alternative club, like I was used to at Manray. I was still mourning it’s closing so I was excited to get back in black,” she says. “It was so way beyond anything I imagined. I remember I wanted to see Mark Broom play so I rushed my friends to get there at 1 a.m., which to me was very late to get to the club! When I arrived I found out Mark wasn’t playing until 6 a.m. or so…what the fuck!? I had no idea clubs were open that late.. On some later trip someone from Juilliard took my photo outside the club for a school project, maybe one of the earliest such surveys.. I don’t know where those images ended up but I’ve always wondered…”
Her best friend Lauren was working as label manager for International Deejay Gigolo Records, and DJ Hell would invite Ariana to staff meetings. Exploring her local Media Play in Buffalo is where she became familiar with the label and others such as Astralwerks and Hed Candi.
“CD compilations used to be a huge thing and the Gigolo series was second to none. This is where I learned about artists from Terence Fixmer to Derrick Carter. When I was 17 years old I told myself ‘one day I’ll go to Berlin and meet DJ Hell.’ It was an insane dream, as far removed from my teen life as anything I could imagine. Well, I completely forgot about that until in 2008 I was sitting in the Gigolo Berlin office and it hit me. ‘Holy shit.’ I thought to myself. ‘I’m here. ANYTHING is possible!’” – VOLVOX
Three months later in Berlin, she says, “I was 23, recently graduated and jobless, with blue hair, a terrible spat of chin acne and a bogus story of working at a record label. Nobody would rent me a room until one day I met a Brazilian guy whose room I was interviewing for. The lady I was looking to rent from had a giant gnarled ponytail hanging off the side of her head and red lipstick that was all out of the lines. She had a huge dog, hundreds of plants and asked me metaphysical questions about ‘what I wanted from Berlin.’ ‘You don’t want to live here,’ he told me. ‘This lady is crazy. If you don’t find anything else you can come stay with me, I’m moving into a one-bed.’ And that is just one of the many times being Brazilian has saved me in a pinch.” Their chemistry as roommates matched as his job had him up early to work each morning and Ariana would sleep during the day after being out each night.
Until one morning her roommate woke her up in a panic – there was a fire.
“We tried to make an escape but we were overwhelmed by smoke in the hallway and I almost lost consciousness choking in the darkness. It didn’t help I just HAD to bring my DJ bag with me. I started to drift off then I remember thinking to myself ‘No, I’m not going out like this, not now.’ I got up and shouted for my roommate. Just as we were both about to pass out he smashed the hallway window with his bare firsts. Firefighters arrived soon after and took us to the hospital. After this experience I decided I had enough of Berlin and moved back to Boston.”She spent three more years in Boston DJing, throwing events and dealing vintage clothes. Her gigs were frequent, but $100 a night just wasn’t enough. “In the back of my mind there was always this nagging voice telling me that a wider world was waiting for me, and that I was squandering my potential staying in Boston.” In 2011 she made her move to New York City.
Working her way into the rhythm of the city she started promoting at The Flat, and also helped found Moon II along with Michael Potvin. This warehouse art space on Rutledge Street off Broadway became home to a series of raves and events which Ariana says “put our group on the map in the burgeoning DIY electronic scene.” One of the space’s first tenants, Daniel Fisher (aka DJ Physical Therapy), was a nexus figure integrating them into the local scene. Ariana recalls Ron Morelli playing one of the first parties and Mykki Blanco using the space to rehearse.
“Eventually the local Hasidim who owned the space brought those efforts to a close, they certainly didn’t appreciate all the queer party freaks that were hanging outside, smoking cigarettes and carrying on into the morning light,” she says.
Fischer introduced her to John Barclay, owner of Bushwick’s beloved Bossa Nova Civic Club. At the time the bar had just opened and he was looking for a resident on first Fridays of each month. She and John Barera ran the monthly together for a couple years before it evolved into what is now known as Jack Dept. “For the first couple years the party had no name, only hot DJ lineups and little more than a Facebook event. That was the style in Brooklyn at the time, very understated, if you knew the artists you knew what was up. I don’t even have flyers from that time, I guess we never even made any!” Yet, popularity for the party grew.
“When I came up with the name Jack Dept. all the energy we had put into the parties up until then just came together in a big way. I remember one dancer excitedly letting me know ‘I’ve been to ALL the Jack Dept.’s!’ …it was only our second party. That’s when I knew the name was spot on, that it would encourage such enthusiasm and also stand for a consistent level of forward-thinking bookings.”
Some of the party’s bookings include Shawn Rudiman, Kiernan Laveaux and Father of Two, Justin Cudmore, Doc Sleep, Hot Mass residents, Eris Drew, Mary Yuzovskaya, Patrick Russell – and that’s just to name a few. “Over the years I’d say half the people that came to the early parties have become famous in their own right and the party is now informing a new generation of edgy Brooklyn clubgoers,” she says, adding that her and Barera are working to bring in national upcoming talent.
“I deeply appreciate having the privilege to break young artists here in NYC and also to provide an intimate club experience for more established DJs to enjoy. As I play more and more massive events across Europe I have recognized that the intimate dive/club experience is something that brings me back to my roots and lies at the heart of my passion for dancing and electronic music.”
Out of the party grew a digital-only record label of the same name in 2016. Pushing lesser known producers who create techno and acid, the imprint has seen releases from Will Martin, M//R, TX Connect, AAAA, Horos, Innershades & Robert D, and Pete Vai. Ariana handles the art direction.
Additionally, the Bossa Nova residency is where she became acquainted with Frankie Decaiza Hutchinson, Emma Burgess-Olson and Christine McCharen-Tran: the founders of Discwoman. This collective has grown to become a globally-recognized platform and booking agency for woman-identifying artists. As one of the group’s first clients, Discwoman has played an integral role for Ariana not only providing further growth for her DJ career, but in the strengthening of her community.
“Discwoman definitely turned me on to the female DJ mission. I guess what I’ve realized now is how amazing and special my youth experiences were in that all the scenes I’ve described until now were well-balanced between men and women, straights, gays and everyone in between, people of all races and decidedly liberal and creative leanings. I never felt like anything was missing but clearly that hasn’t been the story everywhere. I’m happy that Discwoman can inspire more people to take up electronic music, their support also showed me that there was a wider audience for what I do than I ever imagined!” – VOLVOX
When she’s not at Bossa she also holds a residency with Unter, the acclaimed underground party whose unique aesthetic and high-caliber bookings have brought on a serious reputation. Additionally, for the past few years she has been touring on an international level stretching to 21 countries beyond the United States. Her gig roster is incredibly extensive in review. But you can certainly find her frequenting Berghain/Panorama Bar. Perhaps you caught her performance alongside Umfang at last year’s Dekmantel. Back on Buffalo turf in 2016 she played to an intimate dancefloor for Strange Allure as the city’s underground scene began its most recent surge. That’s hardly close to scratching the surface of how much she has done and where she’s gone.
But, there was one party specifically that focused and refined even further the vision of love that Ariana has for music. In February 2016 she made her way back to Brazil for Dûsk, a party in celebration of Vênus Ácida [Acid Venus]; a party inspired by the planet poetically known for its myths of feminine energy and creating balance. Visiting the motherland reintroduced her to ancestral power. This reconnection to the idea of home helped her understand more so her own essence of being.
“I always say that my love of dancing comes from being born in Brazil. They just LIVE for it there! I’d say it’s the national pastime. It’s in my body and my soul. But growing up away from there I never knew what it was about me that was Brazilian. Since I knew only my family I had little sense of what Brazilian people were like. I only knew that I always felt somewhat different/alien all while growing up. That I had a fire inside me that wasn’t like others around me,” she says. “Finally in the last three years I’ve been able to spend quality time there as an adult, and so much has clicked into place. My passions, my desires, they all make more sense when I see myself in this frame. I am so so grateful for the friendships I’ve sparked there, the fruits of which have been deeply spiritually nourishing. I always come back from São Paulo feeling 100% more confident and embodied.”
Over time, life’s little details changed. No matter the city or sky she is under. No matter the time of the day. To thousands of people or just a handful. Ariana’s love for music is eternal.
“I love music because it’s an internal journey that can take you around the world. Music has nourished me for my entire life and has been the great driving force of my happiness. As you can see my life has been wrapped around music for as long as I’ve been doing things and I’m just dumbfounded by how far it has all gone. I’m a lifer for sure, come find me in 10-20 years…I’ll be on the dancefloor.”
BUFFALO, NY – Strange Allure hosts Grey People for their next event installation.
• GREY PEOPLE (CGI, Proper Trax)
• OBSIDIAN DIRECT
• SWAN SWAN H
+ visuals by Frankie NP
+ sound by Emissary Sound
Saturday, April 8th
$10 early bird – sold out
$15 advance – AVAILABLE
– A limited number of $20 tickets will be available at the door –
BUFFALO – For the next installation of Strange Allure, Octo Octa will take to the floor. Opening the evening will be Pure & Supreme.
• OCTO OCTA (100% Silk, Argot, Deepblak)
• PURE & SUPREME
+ visuals by Frankie NP
+ sound by Emissary Sound
Saturday, February 18th
$10 early bird – sold out
$15 advance – AVAILABLE NOW
– A limited number of $20 tickets will be available at the door –
For years Maya Bouldry-Morrison found herself somewhere between two identities. Through her development with music production, and a positive experience coming out to the public, she has grown ever more comfortable as a trans artist known mostly by Octo Octa.
The Chicago native spent her formative years in New Hampshire, but is now Brooklyn-based, at home with her wife and high school sweetheart Brooke.
Initially she started flirting with electronic music in high school after seeing some friends perform with just a computer, Microkorg and maybe a Roland MC-307. She says, “When they were done playing I asked if I could play with them and I immediately went on eBay and got a Korg Electribe ER-1 for something like $80. From then on essentially every day I would go to my friend’s house and we would play around with what little equipment we had and would make some new pieces through circuit bending. We played a couple shows but for the most part we would hide out in a basement and figure out how to make music,” she says.
While studying at the University of New Hampshire, Maya bought Ableton Live to form dance band Horny Vampyre with her friend Jeremy, while using the Octo Octa moniker to explore experimental solo music.
Horny Vampyre is when she really started delving deeper into performance. “Jeremy and I would play tons of college parties plus other shows and the focus was very much on us being right up against the audience. Most of our friends knew a lot of the lyrics so everything would essentially become a gang chant and everyone would flail around. I later took that feeling and somewhat applied it to Octo Octa,” she says. “I was making a lot of IDM and breakcore at the time which was somewhat dancey but felt more at home at a noise show then a college party. At the end of college is when house music finally clicked with me and I figured out that a 4×4 beat at slower BPM would actually make my solo shows more fun and everyone would dance. Once that happened I was all in.”
She continued to perform and produce eventually releasing her debut EP, Let Me See You, through 100% Silk, the house sub-label of Not Not Fun Records. She says, “I was a big fan of Not Not Fun for a number of years and one day I noticed that they had set-up a side label that was going to be more focused on dance music than noise and ambient material.”
With a history producing mostly IDM Maya says she wanted to send productions to Not Not Fun but didn’t feel they were an ideal fit. “So when I saw there was a sub-label that was closer to what I was making I was excited to send them demos,” she says. With the few demos she had, Maya made a Soundcloud account and shared the link to the 100% Silk submission email. “They got back to me a few hours later and said they wanted to put out the record.”
Since then she has had several releases including the 12” Where Did You Go / Through the Haze under Argot, More Times EP under German label Running Back and Further Trips through Deepblak. Her first three albums have been released through 100% Silk, with the most recent Between Two Selves in 2013. She has also been traveling to perform, playing her first European in Germany at the notable Panorama Bar, held a Red Bull Music Academy residency in Manhattan, and has also performed Barcelona’s Sonar Festival.
Her influences range from classic WARP records, IDM, drum ‘n’ bass, Los Angeles record label Tigerbeat6, and has been supremely inspired by gender fluid trans artist DJ Sprinkles. Also known as Terre Thaemlitz, she is a prominent producer, DJ and theorist in the scene.
“I always like the display of watching people find out she’s a nihilist. I don’t always agree with what she talks about, but watching her be the ultimate curmudgeon is a refreshing perspective that I don’t think we hear enough from,” Maya says, reminiscing about Sprinkles’ lecture at Sustain Release this year. “Terre is significant to me because she was the first trans producer that I knew about that wrote music that directly spoke to me in terms of both ideological content and sound. That was something that had never happened before. I feel like that is something that would happen for a lot of people with like, punk/hardcore. When I was growing up hearing new music for the first time, going to shows and seeing people perform, even if I enjoyed it – there wasn’t a whole lot that connected on a significantly deep level. I was a diehard drum ‘n’ bass/jungle fan in my teens and even that which got me extremely hyped and excited, there was still always a little something missing, even if I didn’t know it yet. Midtown 120 Blues had this pull unlike anything else I ever heard before. It just clicked and I heard parts of myself in it.”
Maya began her own transgender process in 2012 and officially came out just a few years later, inspired by the story of Against Me!’s Laura Jane Grace, previously known as Tommy Gabel. Maya first told her wife (a cis woman who identifies as queer) and eventually opened up to her family. Maya made the public persona change from male to female and says the entire process was positive and supportive, except for a couple comments from the public. “I haven’t had many issues being a trans artist beyond the garbage I have to handle when traveling. Dealing with TSA, documentation, and gawking passengers is obnoxious but something that passes once I’m where I need to be. Overall I am a more comfortable performer now that I’m out, so as a whole everything has been an overwhelmingly positive experience. That also might just be the culture as a whole right now especially in underground dance music circles. If I had come out in 2013 like I had originally wanted to I may have had a much harder time.”
“I’m especially happy right now being more involved in the queer community. I’ve identified as queer since I was a teenager, but since I never came out to my parents my queerness wasn’t something that I would publicly discuss. Therefore I also wasn’t seen as someone who was queer and I wouldn’t necessarily be invited to play queer parties even though I really wanted to. They were the spaces I felt the most comfortable in.” -OCTO OCTA
During the same year Maya started coming out, she was also suffering from debilitating anxiety issues. In addition to expressing through artistic creativity, Maya explores further into how she manages her anxiety and promotes self-care in her own life. She passes on advice for others who deal similarly, especially now as there’s an increase in emotional strain during trying times.
“The first thing I try to do during an anxiety episode is figure out if there is an external issue triggering it or if it really is just an internal issue. When I feel an episode coming on and I need to be like ‘am I stressed because there is a deadline, am I forgetting something, or is it just my brain today?’ If it’s an external issue or issues I break it down into discrete pieces and do them one at a time. I also make lists when I’m really worked up and cross them off as they’re completed which will make me feel better. If I’m just having a hard day for no apparent reason then my self-care is to clean my apartment, work on music, take a bath, and maybe go for a walk to clear my head. It may or may not work, but trying anything beyond just shaking and thinking about how screwed I am helps. Talking to friends I’m sure also helps a lot, but if you’re like me then you’ll be like ‘oh I don’t want to burden them.’ I typically wait until my partner comes home and then tell her everything. That’s something I really need to improve.”
Continuing on with producing and performance, Maya has several opportunities on the horizon. This month she’ll be releasing an EP on Paris-based label Skylax as well as Brooklyn label, Love Notes. With an album to be released on Honey Soundsystem this month, she said she’s hoping to make an overtly queer statement with the record, as her last album – Between Two Selves – was more ambiguous regarding Maya’s personal life. Keep a look out later this year for her second 12″ for Argot and a second EP for Deepblak. Additionally, she’s putting out a split record with Ames Henry for her friend’s new label, based on their monthly party Frendzone. “Then beyond that I’m planning some other things. So, busy busy busy!”
You can also catch her playing as Octo Octa for the first time at Movement Festival in Detroit this year. “I am very excited to be playing Movement this year! The only other time I was there I was playing an off-site DEMF party to a couple people. We went to TV Lounge afterwards until the party there got shut down and then I had to fly home the next day. So it was a very short trip. I’m glad that this year will be different.”
From the moment she bought her first piece of gear, Maya has developed an unbinding relationship with music, while simultaneously liberating herself. “It’s the most intimate and participatory art form. I feel like it’s the best art form that you can consistently engage with in different ways and it’s also mobile so you can interact with it anywhere. Sound plugs directly into you. It can strike emotions in me in a way that looking at a painting doesn’t. Being a creative person, music is the thing that’s most connected to me and has allowed me to express myself in a way no other art form could.”
Catch Octo Octa tonight at Strange Allure in Buffalo, NY.
On Saturday night at Strange Allure, Ge-ology performed one of the most powerful and grounded sets I have seen. His track selection and execution was meticulous. He provided an evening that spoke volumes to where we stand on both a united and disenfranchised front, all the while working those turntables with an undeniable precision and rhythm.
The whole evening was a blur and went by far too quickly. But I must say the disco ball was shining harder than usual that night. And beneath it, we danced.
We danced for those that we have lost. We danced for the never ending fight. We danced for the hope to gain ground. That we can for one second catch a break. We recognized the unfairness of it all. Why this? What now? Who? Okay.
On a daily basis we are pummeled with anxious twits and fiddles as we make our way along. We hope to find resolve. In some places we do. Like Saturday night, on that black and white checkered dance floor.
For several hours some of us don’t touch our phones once. Completely wrapped up in the moment we are not bottoming out into self-consciousness and drowning ourselves in the falsehoods of social media. We let our nerves work themselves out, sweat ourselves clean and breathe easy.
This mess of a year has left us rattled and torn but we continue to spot one another. We check in to see if each other is OK, taken care of, and comfortable. We make sure that if someone is in need, we help. We protect one another. We love.
So yes on that dance floor we pushed straight forward through the vortex and the gunky build up of where we’re at right now. The tired days and long nights and inability to find work. Accepting submission because on a structural level, we have to. Dealing with the pressure to go to college followed by crippling anxiety that we now have thousands of dollars indebted to our name with a degree that doesn’t get us much. The apartment we leased that’s falling apart. The flags that represent what we are being stolen from our porches and burned. The violence was strong this year and for some reason society started believing false news sources instead of seeking reliability. It’s all tearing us apart.
Our anxiety and panic is growing stronger but authorities tell us that those issues make us incapable and unacceptable, and doctors push pills on us to heal. Many of us have forgotten how to heal ourselves. Slowly we continue to numb ourselves. We indulge in our vices to keep ourselves afloat, or we slowly inch our way to the edge and consider the leap. But no one talks about that because perhaps we’ll be committed, maybe someone will confirm that we’re just insane. Suicide rates are high, but why do we ignore that and push it off into the dark when someone is feeling isolated. When the feelings bring us to drugs and maybe those substances start to hold an unrelenting clutch on our lives, feeding off of our hopelessness. We have seen each other lost to the fray, and so we will throw on black dresses and shirts and tend to our empathetic hearts at funerals and wakes.
Many still do not understand that sexuality is on a spectrum and gender is not binary. Spaces like this, beneath that disco ball, we create with a purpose. We build these places from nothingness to fill with music and art and freaky people. It’s a space to remind us that we are not wrong, we are not alone, we are wonderful the way we are.
We, the Women, are still embedded with fear as we walk the streets alone. We keep our rape secret. We hide our tears because if we don’t we may not be taken seriously. Some of us may not have been born this way but maybe we identify as women and that puts us in a dangerous zone where discrimination is life threatening. Our fellow female and female-identified peers are still dealing with our long history of oppression.
We as Men are emotional beings but must maintain our masculinity otherwise we fear we’ll fade into a void and stand for nothing. Do this, do that. Some of us are unaware of the pure terror of embracing femininity, so we overcompensate with masculine aggression. We forget it is okay to cry, but tear ducts remain backed up and if someone else shows their emotion and vulnerability we push it off. Yet, we somehow forget that society has groomed us this way.
As young students we were taught about racial segregation and although much has changed since then the discrimination is evermore prevalent. Maybe there aren’t separate water fountains anymore but our news stories and human interactions show that balance has not yet been achieved. We all have our own heritage. And we make our dance floor special because each of us stays present in our own unique way.
We now live in a country being run by a reality TV star. Our environment is on a disastrous path. Our rights are being questioned and in some cases taken away. Borders seem to be a constant theme. We watched white supremacy bubble back up to the surface and for days at a time, we would weep in the arms of our loved ones. Swastikas were found emblazoned on public surfaces and terrifying hate messages were being spread. We didn’t want to leave the house.
I hear some of my favorite lyrics ring through my mind – “he pulls out a stack of books. And I said, ‘excuse me brother, you said you were gonna arm me.’ And he says, ‘excuse me young brother, I just did’.” Those words resonate so strongly with me lately as I see my fellow brothers and sisters uniting now more than ever. Educating themselves. Fighting with love. Pushing forward.
This is why we do what we do. We find comfort and home on the dance floor. Through movement we shift that energy that’s stuck inside of us and we feel it vibrate. We teach one another. We hug and love and smile and cry. We push our bodies. We don’t stop.
Looking back and celebrating one year of Strange Allure parties in Buffalo we can see how Western New York house and techno has grown. We are not a big city scene with plenty of resources available at our fingertips. We are born from rust, growing after collapse and must embrace the DIY attitude. In the past year we can see the ways we have become stronger as individuals and the changes that have brought us to this place in time and to this space.
I found myself bathed in rainbow light and then Ge-ology put on this one record that started to burrow it’s way into that hidden part of my heart. It didn’t bring me down per say, but it drew reality closer and opened me up. This is the world we live in. This is a true American dance floor. I separate from the sparkling light just briefly and find myself dancing alone toward the corner in front of the left speaker and as my pent up frustration with it all bubbles up I want to cry. For the people we’ve lost and the pain we all feel. For the stupidity that I see everyday. Knowing that regardless of all the progress we have made there are still so many people – those in power – who have not shifted their perception in decades. But then I look around me on that floor and I see those familiar faces and I remember: we’re all doing this together. Feeling it. Living it. Being it. This is why we’re under this disco ball tonight. And then, with that thought, I find myself smiling.
As the world seems to be crashing down around us, we will dance. As the light reflects off the mirrored ball as do bits of ourselves refracted among one another. We’re grooving through it. We’re striving toward it, but inherently by coming together as a group with an intention for a better tomorrow, we achieve just that.
We did it. And we will continue to do so.
Strange Allure hosts their seventh installation in Buffalo, NY.
• GE-OLOGY (Sound Signature, Sounds Familiar)
• JAY SIMON (Must Have Records)
+ visuals by Frankie NP
+ sound by Emissary Sound
Saturday, December 17th
$10 early bird – SOLD OUT
$15 advance – AVAILABLE NOW
– A limited number of $20 tickets will be available at the door –
• UMFANG (DISCWOMAN, 1080p, Allergy Season) •
• MAX MCFERREN (1080p, Allergy Season) •
• PURE & SUPREME •
+ visuals by Frankie NP
+ sound by Emissary Sound
Saturday, October 15th
$10 early bird – SOLD OUT
$15 advance – AVAILABLE NOW
– A limited number of $20 tickets will be available at the door –
Like most New Yorkers, Max McFerren is constantly grinding just trying to survive. A South Carolina native with a background in music education, he moved to NYC in 2008 where he began establishing himself further as a DJ and a producer.
Residents of the city are always finding a place to live within their means as the areas and boroughs evolve in cost of living. McFerren currently lives in Chinatown which he says seems to be more affordable than Bushwick, where he spends a chunk of time at Bossa Nova Civic Club. “NYC is such a hard city to survive in. I think you can get addicted to the constant hustle. Being around other DJs/producers who are also making it is super motivating and maybe also a bit enabling,” he says. “I spent most of this past year hiding out, but there is such a strong community here, and I think it’s all centered around a positive ‘fuck it all’ attitude rather than any single ‘sound.’ I think we all just get so wrapped up in surviving and it becomes a part of our identity.”
Starting at a young age he began producing in high school and delved deeper into house, techno and the club scene a bit later on. His early days exploring creativity were spent just recording things onto a computer and playing with sound. The concept of freedom while producing became a driving force. He says, “When me and my buddies would listen to someone like Aphex Twin I think we would give it the same attention as any other recording artist. It was like, ‘you get 78 minutes on the CD to do whatever you want, what are you gonna do?'” The 1992 release Selected Ambient Works 85-92 by the aforementioned and Prodigy’s Music for the Jilted Generation are two very influential albums for McFerren.
After high school he decided to follow the path to Berklee College of Music in Boston, Mass. Higher education in music is a privilege that many do not have access to, especially within the electronic scene. A world frequented with self-taught artists and many who learn to mix or produce by engaging in the creative cloud.
“I think it’s really important to try and give back somehow and engage people who don’t have the resources available. Obviously big institutions don’t exist without funding, but there are other ways. Start small and engage people who want to know things that you know. Share your life with them. Show them possibilities. At the same time I love to talk about music, but I hate the idea of forcing people to do everything my way. It’s so important to understand the idea of process and figure things out yourself. Ask your own questions and take constructive feedback. All of this is hard and I suck at it but it’s true. Be yourself.” – MAX MCFERREN
He began DJing around 2008 when he moved to the city. His friends ran a basement loft in Brooklyn called The Cave and he also played a monthly at Tandem Bar. But he soon established a residency at Bossa Nova Civic Club after his friend Erika Ceruzzi asked him to DJ a party called Worldwave. He says the party was “pretty mixed up sound wise, but that was cool for me because I wasn’t a part of L.I.E.S. or any other established techno thing. Also involved in that party is a dude named Julian Duron, who is a creative consultant for Bossa under his now defunct company Sisterjam (look out for his Creative Support Group coming soon) and now also releases music as Earth Boys with Michael Sherburn.” McFerren began connecting with the club’s regulars and became close friends with Duron, Bossa’s owner John Barclay and the staff. Becoming more involved with booking in 2014 he finds himself closing out the night. “Closing Bossa is probably the most fun I’ve ever had in my life. It has definitely shaped who I am as a DJ today. I hope I can continue to grow with them,” he says.
Whether performing or producing the NYC artist finds himself inspired by dancing, DJing, the city, friends and lovers, “and more recently just trying to heal” – something we can all relate to. His sound is risky and very human. His edge he says “has always been experimental music mixed 75 percent well.” Currently he has three full-length tapes and one 12″ on Vancouver label 1080p as well as a 12″ and a few other compilations on Allergy Season. Additionally, South London Ordnance caught wind of McFerren’s record Shoot the Lobster and recruited him to his newest label, Aery Metals. Now at a musical crossroads McFerren says he will be focusing on his newest alias Complete Walkthru. “There will be some cool 12″s coming out next year and I’ll probably start working on an emotional full length soon,” he says.
What can you expect from a Max McFerren set? “Context is everything,” he says. “I always try to imagine where I’m playing and who will be there, and how long, and why, and just – everything. I hardly ever play by the numbers which is why it’s usually a varied mood.” Catch him tonight Oct. 15 in Buffalo, NY for the next installation of Strange Allure along with Discwoman’s Umfang. “[We] were discussing going all in with techno and experimental electronic music, so it will probably be very confrontational. But we are multi-dimensional people so who knows!”
Eric Cloutier fell in love with techno at an early age and over the past 20 years has developed into an esteemed selector and curator. Born in Birmingham, Mich. he was first exposed to the culture of the scene while flipping channels and stumbling upon “The New Dance Show,” a low-budget Detroit version of “Soul Train.” As Cloutier grew older he became increasingly more drawn to the techno sound and scene in the city of Detroit.
Moved and moulded by Richie Hawtin’s moniker Plastikman, the 1994 album Musik was “damn near flawless” for Cloutier. In the beginning he moved to Detroit and started working at Oslo on Woodward Avenue, now known as the Whiskey Disco, for resident parties by way of Hawtin and Stacey Pullen. But Cloutier could be found playing or just spending his spare time in the dark backroom pit of The Works.
“Just growing up in Detroit was enough of a pedigree. You’re constantly immersed in exceptionally good and – at that time – groundbreaking music, so it’s near impossible to not have some level of inspiration come at you from all angles,” he says. “Going to raves and such in the late ’90s was a proper blessing. And just on those nights out alone, I think I learned more than I have in the last few years.”
By 2009 he became an official resident of The Bunker, a New York City-based party who have hosted an innumerable amount of incredible DJs. Cloutier first played in 2006 and just a month or so after made the move to the city. He reunited with Mike Servito and Derek Plaslaiko, formerly of Detroit who became Bunker residents as well. The liveliness of New York and the output of music there was an inspirational pool for Cloutier. There was something unique – it was ever-changing.
“Music is my life. It honestly gives me energy in the day, helps me through bad times, pushes me when I’m uninspired, and keeps me calm when I’m on travels, amongst other things. I honestly don’t know what I’d do besides working in music – it’s just what speaks to me the most,” he says. As his career grew Cloutier began landing gigs and exploring the European scene. He picked up his things once again and for the past three years he has been living in Berlin, another city rich in history during the birth of techno. Although he can be found playing clubs throughout Europe, Labyrinth in Japan and performing for thousands at festivals in places like the Netherlands, Barcelona, Russia, Montreal and more, Cloutier still understands the significance of his roots. Born into the concentrated dancefloors of Detroit, he nods to the importance of parties in small cities, and the role they play in the grander scene.
“If it weren’t for the smaller cities none of this would have really pushed boundaries. It’s so easy to rest on your laurels when you’re in a larger city, but when you’re the runt of the pack in a tiny corner of the Earth, you really have to do something profound to be heard and I think it’s exceptionally important for the little scenes to find their voice amongst the masses. All the most interesting stuff comes from the strangest places.”
The most unsuspecting cities, particularly in the Northeast, are establishing strong communities for house and techno. Cloutier says, “Without a doubt the tiny cites go off harder than the big ones, simply because it’s a luxury for an outside guest to come through and they make the most of it. You can tell people schedule their nights out around those once-in-a-while events, and it’s super important to them to get it while they can before it’s gone again.”
During his sets Cloutier demonstrates expert track selection and navigates the crowd, leaving them lost in time and space. His dedication to the music, whether as an opening DJ or headlining, has provided him a platform and a background for growth. For years Cloutier has explored the art and technical skill of DJing and it wasn’t until the last few years in his long career that he became more involved in producing. Although Cloutier releases will be relatively limited as he focuses on quality over quantity.
What’s next for the intrepid traveler? “Not totally sure where life will take me in the next few years. While the missus and I do enjoy Berlin, I can’t see it being the end point for my life travels…but who knows! As far as where to next, I’m always down to move to Amsterdam or the south of France, but…we’ll see!”
He kickstarted the techno scene for the debut Signal > Noise event in Rochester, N.Y. and now Cloutier returns to Western New York tonight for the next installation of Strange Allure in Buffalo, N.Y.
Detroit’s Interdimensional Transmissions’ Erika + BMG will be taking over Volume 4 of Strange Allure. Visuals by Frankie NP and sound by Emissary Sound. Advance tickets still available now via PayPal and ticket reps. Will-call tickets can be purchased via PayPal at firstname.lastname@example.org.
As usual, venue information will be transmitted the night before via email. RSVP to email@example.com to be added to the mailing list