CHICAGO – A smartbar 35th anniversary celebration…
23 Hour Party People with…
Aaron Clark / Eris Drew / Garrett David / Harry Cross / DjHeather / Jarvi /Jason Kendig / Jeff Derringer / Justin Long / Michael Serafini / Olin / Phillip Stone / Pat Bosman / Sassmouth / Savile / Sevron / SOLD
+ Hosts and visual artists TBA
$20 Advance*, $10-$40 Door; limited free entry before 7AM / 21 & Over
7AM Saturday, Nov 4 – 5AM Sunday, Nov 5
*Advance tickets are subject to up to a $10 surcharge based on arrival time. Please review the timetable for more information.
ALL entry is based on capacity! If you want to ensure you get in at the busiest times, arrive a little earlier. We suggest the either before 9AM, between 4PM and 7PM, or after 3AM.
Re-entry is allowed, but based on capacity. If you leave and we’re full when you come back, you’ll have to wait. There will be a designated smoking section for those who smoke or would like some fresh air.
Tony Fairchild was born and raised in a creativity desert. Living his formative years between Toledo, Ohio and Monroe, Mich. he was inspired to seek beyond his roots to satisfy his need to discover the unknown.
“I can’t attribute any profound musical experiences or sage tutelage to my time spent in either place, but I can definitely credit the lack of art and culture in both cities with instilling in me a thirst for unique and transgressive experiences of all sorts. When you are raised in the middle of a cornfield or a faceless Ohio suburb, your thirst for adventure in all forms gets pretty real,” he says.
It took some time before he delved deep into the house and techno realm. As an early teen living in Monroe, he says, “I used to impatiently wait for the techno shows on WJLB and 89X to end so I could resume making mixtapes of Limp Bizkit and Ludacris. Only much later did I start to appreciate this music that was being broadcast in my backyard, again thanks to radio; in the form of Ben UFO’s Rinse FM show.”
After graduating from Ohio University, Fairchild spent five years living in Columbus. His time there came to a close soon followed by a decision to move to Pittsburgh, Penn. “I was fired from a long term job and ended an even longer term relationship. The time was ripe for me to explore a new future and there were no strings attached to prevent me from doing so,” he says.
He has since made a name for himself as a DJ, promoter and label head. At Hot Mass, Pittsburgh’s favorite after-hours spot, Fairchild assists throwing events through Humanaut. This came to fruition quickly upon attending his first Mass as a fresh Pittsburgh resident. Soon he would find himself being wrangled into the mix by Aaron Clark.
“Aaron Clark approached me with his signature brand of endearing enthusiasm and told me pretty squarely that he needed help with Humanaut. It was never a question; more like, ‘Hey you! Join the team!’,” he says. “As anyone that knows Aaron can attest, he is the ultimate mover and groover and an amazing community engineer. Aaron brought me into the fold as a Humanaut resident and connected me with the rest of the Hot Mass family. I couldn’t have asked for a warmer welcome to my new city.”
Between Hot Mass’ resident parties (Honcho, Humanaut, girlFX, Detour, Cold Cuts), The Weekend Send events at the Ace Hotel, and smaller up and coming parties like MESH, Pittsburgh has established itself as a hub for Midwest techno and house.
“Right now I see Pittsburgh as being the exemplar of sustainable underground partying in the U.S. We have somehow managed to carve out for ourselves not only a present, but also a future as party organizers in a mid-sized American city with 2 a.m. closing laws. I see Pittsburgh as proof that this thing can work if the right people are brought together in the right circumstances with the right resources. Luck is no small part of the equation.” – TONY FAIRCHILD
He has witnessed how Pittsburgh’s success has inspired smaller metro areas to bring life to barrenness or expand on an already established smaller scene. Hot Mass continues to play an integral role for many cities within the American Midwest and Rust Belt, and has become a reputable destination on an international level.
Fairchild says, “I know that Hot Mass was a major source of inspiration for myself and the co-founders of Midwest Fresh. Seeing the team throw a weekly party that goes till 7 a.m. while maintaining a certain level of organization and professionalism is really encouraging in a country that tries to stifle this exact sort of thing. We are also now seeing Pittsburgh bring more attention to the broader U.S. scene in the global sense. Word has gotten out that Mass is a great party to play and artists are starting to plan tours around playing the club. This has bridged the (sometimes quite large gap) between the EU and U.S. scenes to the point where relationships are built that increasingly bring EU artists to the states and visa versa.”
In addition to Midwest Fresh, Cleveland’s In Training parties are another that have been influenced by Pittsburgh. Instilling and growing small but concentrated music scenes in these rather desolate areas are necessary for cultivating creativity and providing safe spaces. Regarding Ohio he says that “in a state so devoid of culture, these parties are absolutely crucial. In Training and MWF in particular are some of the last bastions of cool shit in their respective cities. Thanks to them, Ohioans have a chance to experience something more novel than the weekly special at their favorite overpriced brunch establishment. On a more positive note, I have seen the nexus of MWF and IT summon an entire generation of incredibly smart, funny and immensely kind party people from the woodworks. These people have become DJs, promoters, producers and contributors to the scene, both locally and globally. Most importantly they have become a community of friends. Today I count almost all of my closest friendships as products of the intersection of MWF, IT and Hot Mass in the past three years.”
Party energy is pushing out beyond Chicago and Detroit and growing in Pittsburgh, Columbus, Milwaukee, Indianapolis, Cleveland, also stretching to the edges of the Rust Belt in smaller cities like Buffalo and Rochester. The Midwest Rave is alive and well. That classic rave feeling can come in so many different forms, and although inexplicable the existence when experienced is undeniable. How does Fairchild define it? “No Way Back 2013 or whatever year they sold out of water and I had to drink Snapple all night to stay alive in the 95+ degree heat. Any party that nails that feverish, unhinged and diehard vibe shall be knighted as True Midwest Rave.”
As a DJ he has contributed to the growth of the scene not only in Pittsburgh but with his booking beyond. He recently returned from an international stint where he played in Denmark and at Berlin’s Tresor. Prior to that he was found in Detroit at this year’s Industry Brunch, Service at Smartbar in Chicago, Washington D.C.’s Flash, In Training, and many times on home turf for Midwest Fresh. On the horizon he’ll be sharing the night with Hot Mass resident Naeem for REDUX in Buffalo as well as the next Jack Dept. in NYC for a Hot Mass showcase.
Additionally, earlier this year he launched his own record label. Is / Was “seeks to put out future-proof new releases that will be as listenable in 20 years as they are today.” Complimenting that mission, sublabel Was / Is will reissue classic cuts to “serve as reminders to dancefloors of 2017 and beyond of the origins and possibilities of this music.” Output includes releases and represses from Archetype, Dwayne Jensen, Mark Ambrose, Cube 40, Omni AM and 4E. Dropping Monday, September 25 will be a limited run of Cube 40’s “You Make Me Function” reissued and remastered. Attesting to the vulnerability of change he comments on how his initial drive to show a reflection of the “true lineage of American dance music” has evolved.
“The vision and concept of the label are currently in flux. I was just talking to Brian Bohan and Shane Christian of In Training about how I feel like I have no coherent curation for the label at the moment. At first it stressed me out, but I’m settling into the fact that the only coherent thread through all releases is that they represent a moment in my exploration of the wide realm of dance music in all its forms. My recent obsession with UK garage is even leading me to drop the whole ‘true lineage of American dance music’ thing. My only goal right now is to put out what I feel to be important music in whatever moment it comes to me. Right now I’m salivating over the idea of putting out a comp of 1995-1997 proto-UK garage tracks for instance. In three months I will most likely have moved onto some other compulsion and will pursue that until it haunts me no more. No matter the format or genre of the release, I suppose the goals for each label are always the same.
“It’s no secret that I am disappointed by the lack of funk, swing and experimentalism in today’s music,” he continues. “I hope that I can steer both labels to exemplify how I’d like to see this music continue to progress.”
Music was a gateway beyond normative minutia of his surroundings. It continues to be a guide into the past and future. “Music has opened a whole new world of exploration and connection to me that I otherwise wouldn’t have. I’ve had some of my deepest spiritual experiences thanks to music,” he says. “I’ve connected with people from all over the world and forged almost all of my deepest relationships through a mutual love of this one thing. Not having access to this would be like emotional and developmental equivalent of having your ISP turn the internet off.”
ROCHESTER – Signal > Noise celebrates their birthday with three beasts: Pittsburgh’s Aaron Clark and Shawn Rudiman and Chicago’s Sassmouth.
Perhaps no one else is as responsible for putting Pittsburgh on the map recently like AARON CLARK. If you’ve been plugged into the scene over the past several years, you’ve undoubtedly caught wind of the throbbing, sweaty techno revival happening there, at one of the events Aaron helps curate and promote with his crew Humanaut (recently celebrating their 10th-year anniversary!) and the notorious queer collective of which he’s an integral part, Honcho. What you may not know is the dancefloor weapon that Aaron Clark is when he gets behind the decks. Dynamic, subterranean beats mixed with maturity and surgical precision is what Aaron brings to whatever sound system he rocks, be it Berghain in Berlin or Rochester’s Signal>Noise.
Chicago’s Sam Kern, aka SASSMOUTH is the jet-setting queen bee of the American underground techno/house scene. Her reassuring presence and constant hard work on so many fronts has helped energize, catalyze and unify the U.S. scene. Sam’s passion for dance music and its lifestyle is unquestionable. She runs the always-on-point God Particle record label, is a resident DJ at Chicago’s Smartbar and San Francisco’s As You Like It, and with the Naughty Bad Fun Collective, is responsible for one of the most beloved events during Movement weekend in Detroit every year, Industry Brunch. Besides all this, Sam is an absolutely incredible DJ, and a simply wonderful human being whom we cherish and are thrilled to have back in Rochester, which is somehow still standing after her last appearance here in 2014
Pittsburgh’s SHAWN RUDIMAN is part-man, part-animal, and part-machine (he can also be quite the party animal, but that’s another story). Shawn annihilated the Signal>Noise dancefloor upon his last visit with the explosive 100% hardware live performance that he is renowned for worldwide. Many in-the-know techno-heads everywhere regard his as the best live techno PA on the planet, and we at Signal>Noise unanimously agree. Shawn has been a staple in the world techno community for almost two decades, playing at clubs, raves and festivals like Tresor and Movement Detroit regularly. You simply haven’t witnessed the pure, unadulterated fury of techno until you’ve witnessed Shawn Rudiman and his machines raging at full blast. on a killer sound system.
<<< DJ LINEUP >>>
[Honcho | Humanaut PGH]
[God Particle | Smartbar CHI]
[Detroit Techno Millitia | God Particle | 7th City]
<<< PARTY ESSENTIALS >>>
Saturday > January 28
45 Euclid > Rochester > NY
[10PM – 4AM]
Sweaty bodies, a wall of lights and a sound system that pulls you in and won’t let go. If you have experienced Hot Mass, you understand. Aaron Clark, co-founder of the Pittsburgh party, is in charge of co-curating resident nights Honcho and Humanaut at the after hours spot.
While growing up in Ohio, Clark wasn’t very active in the music scene. Mostly a bedroom DJ he says “I was still coming out of the closet and trying to pull away from my church. Once I turned 18 I started to hit the parties happening at Red Zone in Columbus and Moda in Cleveland.” Shortly thereafter he moved to Pittsburgh for university, unfortunately right when the city’s rave scene was in a lull.
When it comes to Clark’s background as a DJ, he says “I sort of tripped into it.” He would hear electronic tracks in the background of commercials and scour the internet to identify them, which would turn out to be “stupid stuff like Chemical Brothers. This was Napster days, so I’d download that stuff, but then realize that people made remixes of these things, which led me to more underground producers. It was kind of a rabbit hole situation,” he says. “I know a lot of people don’t believe in folks coming in from the commercial side of dance and landing in a good place musically, but it happens.” In high school he was introduced to his friend’s boyfriend, Rob, who had a full DJ setup and PA. This piqued Clark’s interest and pulled him to the performance side of electronic music which he says “really helped me start separating quality from bullshit.”
Before Hot Mass became one of the most prominent parties for today’s scene Clark spent about eight years throwing large scale events. While seeking a place to throw small after parties for their main events they stumbled upon Club Pittsburgh, a private men’s bath house located in the city’s historic Strip District. The space is relatively small, with small dark spaces for private encounters.
He reminisced about the beginning stages of their parties in the bath house. “When we first checked it out, we weren’t even sure how to use it. The space was super weird, not laid out in any sensical way for dancing, lots of hallways and cruisey rooms (as part of the bath house) but we could go late. So we took it, and had Kirk Degiorgio play a second set after his first one. It went off! I think we pulled the plug on a full dance floor that morning around 8 a.m.? Up to that point we would struggle to hold a crowd until 4 a.m. max. We were all really blown away by the crazy energy that room had, so we kept going with it.”
John McMarlin, manager of Club Pittsburgh, proposed that the after party events become a weekly which ultimately brought Hot Mass to fruition. Clark says, “That sounded insane to us, as everyone knows how impossible it is to keep a weekly party going. It’s torture. The idea was that maybe we could pull it off if we had four separate crews as part of the larger collective, and we all took a different week so we didn’t burn out.”
Hot Mass as a whole is comprised by four parts: Honcho, Humanaut, Detour and Cold Cuts. Each Saturday of the month is accounted for. Honcho is held the first Saturday followed by Humanaut on the second. The city’s record label collective Detour showcases the third Saturday and new to the roster is Cold Cuts, an event which curates an affinity for disco and hoagies on week four. I inquired how each of these facets play a significant role not only within their space but also to the scene at large. “This is a tough one to answer. I think all four crews touch different sounds of dance. Humanaut heads straight to techno, Honcho loops in the gays and does all genres, Detour is heavy on live sets as they’re so production-minded due to their label, and Cold Cuts is just a great fucking time. It’s positivity music,” Clark says. “You kinda touch all corners, and funnel everyone into one club together, making it easier for people to figure out what they like and dig deeper. Ideally, we are always giving up-and-comers a shot on the decks as well. It’s something I personally want to push further in 2017.”
The four crews work together to maintain the integrity of the space and progress the continuity of energy and quality talent.
“We’d all vote on the larger rules of the club, keep the door cover consistent, and operate under a unified brand – Hot Mass,” he continues. “We wanted the general public in Pittsburgh to think ‘it’s always a good time there’ and not get hung up on who was promoting the party. Amazingly enough, it worked. And over the past four years we’ve just tried to improve the place one piece at a time as we got the money, knocking out walls, moving the dance floor, new sound.”
But what exactly is it that makes this Pennsylvania party so special? The size of the space is small bringing an inherent intimacy to any party. Sexuality here is open and free and there is an undeniable consistent energy when you make it until 7 a.m. and those lights turn on. “It still feels crazy that we have this beautiful thing. I think being attached to the bath house (Club Pittsburgh) is incredibly important. Right out of the gate, it’s a gay space. That helps with crowd quality immensely and is really an inseparable part of it all. Once you have that base layer, you add the layers of good friends, techno heads, and out-of-towners coming through each week,” he says.
Honcho was established in 2012 while Humanaut was founded in 2005 and run by the collective efforts of Clark, Paul Fleetwood, Paul “Relative Q” Zyla, Benjamin Kessler and Tony Fairchild. Through both Honcho and Humanaut the floor of Hot Mass has seen talent from the likes of Bill Converse, Derek Plaslaiko, Shawn Rudiman, The Black Madonna, Claude Young, Ectomorph, Bicep, DJ Minx, Sassmouth, and so many more. Last summer Clark assisted hosting a Honcho Summer Campout in the West Virginia woods and sometimes you can catch a set by Honcho, which is comprised (give or take) by Clark, George d’Adhemar, and Clark Price.
“[Hot Mass] is one of the only places in town where different peoples bubbles crash into each other. Pittsburgh is not known for being a diverse place, which can feel suffocating at times. Hot Mass is a bit of an antidote to that.” – AARON CLARK
The dance floor at Hot Mass is one of which that allows freedom, tests your limits, breaks borders and pushes boundaries. There is no pretension, and with Club Pittsburgh’s environment these parties bring everyone together by serving to both the gay and straight community. Clark believes that these attributes of a party are “important because these moments don’t happen enough. As we’ve all seen, everyone is content to live in their own personal bubble these days. Gay people need to party with straight people, and vice versa.” He explains that this outcome won’t happen at a typical gay club which serves mostly as a place to get drunk. “I think the important part here is that there’s something for everyone to bond over other than a bar – the music.”
When he’s not bringing in talent or throwing down sets himself, Clark can be found working as a Cultural Engineer at the Ace Hotel in downtown Pittsburgh. Through this position he wears many hats working with community relationships, marketing, event programming and social media. “I was attracted to it because I had respected the Ace brand for years, and I wanted to force myself outside of my comfort zone of just throwing techno parties.” Through this avenue they are collaborating with The Andy Warhol Museum, hosting independent markets and panel discussions, as well as pop-up dinners. Although a small component of what he does at Ace, Clark incorporates small music events at the hotel, with an occasional Hot Mass day party outside.
No matter what Clark does, both day and night, his love and drive for music will run deep and with passion. “Music is one of the only things that can overtake my emotions completely. I remember one time at a Bunker show in NYC, Magic Mountain High was playing live. My partner and I had just gotten to the club, completely sober. We’re standing on the dance floor and we just started crying. The music was so beautiful, it was involuntary. That’s really cool. There’s a lot of beautiful stuff in the world, but music consistently does crazy things like this, over and over again.”
Catch Aaron Clark make his Western New York debut on Saturday for the two year anniversary party of Rochester’s Signal > Noise.
Born and raised in Michigan, the youthful Chuck Hampton (otherwise known as Gay Marvine) could be found turning the dial to explore all that Detroit radio had to offer. Driving his family crazy by constantly tuning into disco stations, he fell in love. From that point forward he used his finely tuned ear and spent his creative energy to share that love with the rest of the world.
What is it about that disco sound? “The bass! The beat! I loved the repetition of the groove. These things all spoke to me, and I couldn’t understand how some people didn’t get it,” he says.
The genre, which was generationally pivotal, had some historically dark times. During an infamous baseball game between the Chicago White Sox and the Detroit Tigers on July 12, 1979, disco arguably became a scapegoat for sexual and racial discrimination. Disco Demolition Night was meant to be a promotional event put on by the Chicago team at Comiskey Park. During the rally attendees brought a record to the game and during the doubleheaders intermission the vinyl was destroyed by an explosion on the field. There were 50,000 people in attendance that day and a riot ensued. More than 5,000 people took to the field to set fire to the records.
Yet, disco prevailed and remained a foundation for music thereon in. Hampton reminisced about his early clubbing days which took place shortly after that time. “Detroit area gay clubs played such great music in the ’80s,” he says. During which he said he would hear alternative sounds such as Ministry, Siouxsie and the Banshees, in addition to popular hits and Hi-NRG tracks. “Then house and techno happened. It changed everything! We had the greats – Ken Collier, Derrick May, D-Wynn, Richie Hawtin – and so many more. They took it all to a higher level. All of this rich variety influenced me as a DJ and how I hear music.”
“For me, editing is all about mining for the funk, and trimming the fat off. Some things that were in the old disco records were superfluous, and distracted from the wicked groove that was happening underneath. Also, I was heavily influenced by disco house records of the ’90s. I love how repetitive they were, but sometimes I wanted just a little more of the original in there and a little less of what was added. I’d say the most evocative of my edits is ‘Anxiety Into Ecstasy’.” — GAY MARVINE
According to the label, “Bath House Etiquette is a manual on how to handle Gay Discos. Everyone needs a little inside information. Follow the stairs to the basement, wait on your knees by the sling and wait for Mr. Marvine (to you) for further instructions.”
There is a raw and visceral energy that takes place in a bathhouse that can definitely emanate through Hampton’s tracks and the sets he puts out. Hampton says, “I think bathhouses represent hedonism. Unbridled sexuality, sensuality.” Beneath a bathhouse in downtown Pittsburgh, Penn. you will find after-hours venue Hot Mass. Aaron Clark booked Hampton as the very first guest for Honcho, a monthly gay party held at that venue, in February 2013.
According to Clark, Hampton is now deemed an unofficial Honcho resident. “We’ve done a lot of parties with him already and plan to do a lot more this year,” he says. “The Honcho sound is pretty diverse, it can disco just as well as it can whip the club into acid house and techno. Chuck really nails all of those sounds. He’s the guest DJ that always feels the most at home with us.”
Beyond the bathhouse and deeper into the music, Gay Marvine helps provide a place that is unlike any other. What makes his set special is “the energy and the celebratory vibe of the music. Even if it’s tougher sounds, it’s always happy. It sounds like family, and the club feels like family,” Clark says.
This environment is a beautiful place that prevails through dark times and embraces positivity. Disco, house and techno inherently inspire energy, liberation and fearless expression. For Hampton, “[music] heals my soul, it brings me joy, it gives me solace, it soothes me, it makes me want to fuck, it makes me dance!”