Papaya Papaya Mamão is a celebration of syncretism in electronic music, based on a biweekly radio show of the same name on East Village Radio, where Fedra, Fuge, and Matük play the newest and the deepest in Latin American music, a mix of electronic and organic sounds from field recordings, ambient, experimental and leaning heavily on club music. We will start the night at 9pm with a DJ set by Fuge, and the first live performance, by Contrafuego, will start at approximately 10:30. They’ll be followed by a two hour hybrid performance by Siete Catorce, and then a one hour live performance by FEDRA. Fuge, one of the minds behind Fiber, the beloved experimental music & food feast, will start the night with his usual música de tensão, combining aural hallucination and rhythmic invention pulled from across the Panamerican underground, to clear the air and the ground for Contrafuego to take off. Contrafuego, a six-piece electroacoustic ensemble founded by Matük and his friends from the NYC Gaita and Bullerenge communities, will build a trance ritual out of the sounds of the Colombian coast filtered through a barrage of synthesizers and afrofuturist ideas, calling the mothership down from the spirit realm. It’s rare to see an act this live anywhere, especially in the intimacy of a DIY space, in the round. Siete Catorce is one of our favorite producers, with a distinctive sound that combines the instruments of hardware techno with Mexican dance music, but with a freedom of flow and movement that only a few of his peers can match. His output over the past decade, and the releases on the Subreal label he founded with Amazondotcom, are peak Latin bass music: loose and natural, heavy-bottomed, playful, fleet-footed and unpredictable. An expansive new album on Oct. 2, his first in four years, follows a handful of 2010s archival releases that sound fresher than most things coming out today, and lately he’s been a presence at some of the farthest out festivals like Mutek and Unsound. His hybrid set is gonna be all gas bb. FEDRA’s roots stretch from Armenia to Argentina to Colombia, and they release music on rowdy irreverent banger labels like, Santa Sede, Vista Recordings, low income $quad, and Ruta, as well as new ambient music out on Biodiversità Records. Their lowslung, sexy, percussive club music combines rhythmic swag from raggaeton, dembow, jungle, funk, hard drum, with textural elements from Arabic music and tropical pop. Their live set is gonna bring us home for the night We’re hype to host the party at a secret loft run by a queer artist’s collective whose artistic practice and values align with ours, with a custom Danley-style soundsystem that they built themselves (and teach others how to do!) Waldo Walle will do a custom lighting installation that will electrify the light hoes among us, and there will be papaya ice cream and maybe some other snacks, a bar, and some of the best dancers in Brooklyn. NOTE: We’re writing in the debt of the long Labor Day Carnival weekend here in Brooklyn, and we can tell you that the best music and the best parties in this city are not isolated in clubs. Clubs are esconced as part of the city’s economic machine, their popularity is talked about in dollar signs and data points in major newspapers and critiqued in journals, but the city’s only iteration of the great carnival tradition is discussed only in terms of injuries (this year nine) and deaths (zero), ghettoized into one shrinking segment, less than 24 hours of a long weekend, even though it draws a few million people from more than a dozen distinct Caribbean communities, as well as their allies from across the carnival region who still don’t have their traditions represented. This year saw the permitted pan yards, where the local Trini steel pan bands practice for the Panorama competition and the J’Ouvert celebrations, threatened by NIMBY settler’s calling the police on them. One of our friends said that the police had created a fortress around the prize real estate blocks of Prospect Lefferts Gardens so that they wouldn’t be overrun by the horned devils of J’Ouvert. J’Ouvert in the city used to start at 2-4am with dutty mas and really spill out at dawn in a release that engulfed the whole neighborhood in Black celebration and Caribbean pride, and this year nothing official started until 6:30 (up from 6am last year), squeezing the joy through one chokepoint nearly a mile from the main parade route. It’s the only night of the year with a Black takeover of the streets, and it’s a reminder of who really owns this city, and what kind of beauty can unfold on them when they’re not overrun with cars and workaday bullshit. They might have the guns but we have the numbers. Frankly, carnival in this city is a pittance, it barely whets our appetite. Nevertheless, the culture cannot be suppressed. You can still find organic celebrations every Sunday in the south end of Prospect Park where you can hear PAs and live performance from Trinidad, Panama, Mexico, Ecuador, Puerto Rico, Colombia, the Dominican Republic, Haiti, and Jamaica, just to name a few of the most obvious, along with the boomboxes of old House heads, and the drummers in the grove summoning West Africa. All of this inspires us to sustain a hybrid space, for hybrid music, that is born when ravers drink at these other wells of ancestral musical sustenance. Come correct: We have a zero tolerance policy for sexual harassment, abuse, misogyny, racism, anti-blackness, xenophobia, and transphobia. If we receive reports that anyone violates this policy, they will not be welcome at the space.