Interview
Poof is a resident at Massive (Seattle), and organizer of the queer underground event SQUELCH. Through these roles, Poof creates mesmerizing ecosystems where each may thrive in harmony.
Originally hailing from the Midwest and shaped by years in the Bay Area, they’ve cultivated a love for immersive experiences, harm reduction, and building vibrant queer communities.
A marine biologist by day, their sound naturally drifts like a current through euphoria and psychedelia. Expect tidal waves of emotion, bioluminescent textures, and the occasional deep dive into the abyss. 🫧🎶🐠
How does working with the underwater world in the Pacific Northwest influence the way you approach music?
My research and current work focuses on invasive species, their impact to native ecosystems, and how to best mitigate their establishment, spread, and impact. The organisms I work with are mostly small cryptic invertebrates (barnacles, sponges, anemones, anything growing on the bottom of a dock), and since these communities are highly diverse, a huge part of this research is focused on identifying species. In identifying invertebrates, you have to examine small differences in morphology, often comparing two organisms to each other and diving through references. I think the emphasis on paying attention to small details tracks over into music– I try to train my ears to look for differences between tracks/artists/mixes. I feel like the tendency to look for similarities and differences is helpful to me in DJing. I’ll hear similar sounds or patterns that may be completely different genres, but the overlap and journey based on these similarities between tracks is really exciting to me. I also feel like I get bored with music when it’s all a similar feel or genre over time. I feel similarly uninterested in habitats/ecological communities that aren’t very diverse, which is why I study ecosystems/communities rather than single species. The Pacific Northwest is a biodiversity hotspot for marine invertebrates (due to its cool waters, oceanographic circulation, and nutrient/food availability), and I’m always amazed by the diversity of shapes, colors, and textures that you can find tidepooling or growing on structures in the water. Hopefully I can capture a similar variety of colors, textures, and shapes in my DJ sets!
Can you share how your roots in the Midwest and the Bay shape your perspective today — either in your music, your science, or your community work?
I spent most of my time growing up in the midwest trying to leave the midwest. It was pretty challenging as a queer person interested in studying marine biology in a place that was conservative and didn’t have any oceans nearby. At the time, I listened to some electronic music, but was not a raver (and I don’t think there were any raves happening in Cincinnati at the time). I did go to a lot of live concerts where the music was punk, indie/alternative, or jazz. I still listen to these genres (in addition to some classic rock my parents raised me on), and I think my interest in multiple genres of music is something I try to bring into DJ sets. I then moved to California for grad school (and because it is a queer oasis), where I really developed my interest in electronic music and raving. I think the legacy of the Acid Tests and psychedelic culture still are a strong force shaping art and music scenes in California, and my exposure to this is where I think I developed my interest in more psychedelic and “heady” music. I also think many of the counter-culture and radical philosophies and approaches to community that I value now are another crucial part of the history of San Francisco. I learned to love myself for being queer, to lean into creative endeavors (including starting to DJ), and to hold myself and others accountable for prioritizing community through raves and renegades in San Francisco and Oakland. I think going to events like Honey Soundsystem, Mixed Forms and Kosmetik (at the Stud), Club Pansy, and Envelope Soundsystem raves opened my mind to a diverse array of mind-melting, euphoric, and incredibly wacky. These events also showed me how queers can make dreams a reality. My time in the bay area really is the catalyst for starting SQUELCH and is where I developed a taste for a lot of the music I play now.
What has your experience been creating space for queer community through SQUELCH, and how do you see those spaces evolving in Seattle’s underground scene?
SQUELCH was born out of a desire to amplify queer self-expression and build community outside of the rigid confines of consumerism. The acronym stands for Seekers of Queer Love, Community, and Hope, and these are values we center in our events. What I’m trying to do with SQUELCH is empower folks to be freaky, challenge their inner hater (or channel it into a creative endeavor), and allow themselves to love. In my opinion, it’s not common for events to be organized based on values, and communicating these to folks in a way that encourages them to evaluate and hopefully practice them is hard. While we’ve only had three underground events so far, I’m really happy with the community of folks who get it and show up to SQUELCH as participants and not consumers. I think SQUELCH events are the perfect balance of hedonism and healing, serious and silly, and dark and light. Our events certainly have some room for improvement, but the DIY ethos and intentional approach hopefully encourage others to contribute and remind folks that they have the power to create. I am very excited to continue to grow as an organizer (and a person), and I feel immense joy in continuing SQUELCH with an amazing community of co-organizers and participants.
While venues come and go in Seattle, the desire to dance safely with like-minded folks always remains, and I have faith in the underground to stay strong. We especially need it now with the increase in commodification and consumerism around DJs and electronic music. Raves are radical and political spaces that dream and advocate for a better society. I’m glad that electronic music and the idea of raving has continued to grow and gain popularity, but I think it’s up to the underground to carry forward the joyful, radical, and community-oriented ethos that isn’t as common above ground. I encourage other organizers to prioritize organizing in a way that both builds and gives back to the community. I also encourage all dancers, DJs, and music lovers to remember that events can be serious and unserious at the same time, and kindness and inclusion can create stronger communities than gatekeeping and exclusion.
What does harm reduction look like to you?
To me, harm reduction is acknowledging that folks have bodily autonomy, and what they choose to do with their body shouldn’t be policed or shamed. I think as queer folks, we have had our behavior monitored and shamed by society for a long time, and our response has been to strengthen and invest in community, which has taken the form of providing resources, education, and safe spaces. Harm reduction is not encouraging anything specific, but rather providing the resources to reduce harm to individuals who choose to engage in taboo behaviors or consume substances. I’m super excited that harm reduction resources are easier to access now (check out the Hepatitis Education Project in Seattle for free resources), and it’s been great to see other events provide harm reduction. I think harm reduction resources should also go beyond narcan and test strips– electrolytes, first aid supplies, KN95 masks, air purifiers, tampons/pads, clean syringes and sharps containers, snacks, and anything else folks need to survive extended periods of dancing are all great to provide to the community. I think this shouldn’t just be an afterthought of some random items scattered on a table though, and I think it’s important to also have folks that are there to provide community support. Volunteers that are willing to be approached with any harm reduction questions, help communicate any issues with organizers, and act as a friendly and approachable face are an investment in community. I’ll also add that I try to approach harm reduction with curiosity– I’m not an expert but I’m always excited to learn how to best support folks.
If your DJ style were a sea creature, what would it be — and why? 🐙🎶
I think if my DJ style were a sea creature it would be a cuttlefish! Cuttlefish have chromatophores that allow them to create unique colors and psychedelic patterns on their body that they can change quickly. Cuttlefish use color to communicate with others, often using a combination of subtle changes with more abrupt flashing. When I DJ, I try to move through different genres/sounds and I hope that the music I play communicates a range of feelings to the listener! Cuttlefish also change their appearance as camouflage, matching the patterns of the environment around them. I like to camouflage songs most folks know by playing a remix, but I’ll tuck this in with some more psychedelic and experimental sounds. As invertebrates, cuttlefish are flexible in body shape and can adapt to the environment around them. As someone who DJs in both gay bars and underground venues, I adapt the type of set I play to the environment around me. I think cuttlefish are pretty sassy (I was once “attacked” by one while doing research in Panama), and I always try to bring some queer/sassy flair to my sets. Finally, cuttlefish are related to squid, so it feels appropriate to bring up Night by Benga and Coki (one of my favorite tracks and it features a squid in the music video).
Can you tell us a little more about this specific mix?
This mix is a recording from an event called Twink Bash (lol) at Massive in August 2025. I was opening for Miss Twink USA, who was (and still is) a huge inspiration to me as a queer DJ. I feel like they seamlessly blend accessible/mainstream queer music with underground/unknown/experimental sounds, all while maintaining excitement and energy. I tried to channel that approach in this mix, and having been inspired by time spent at Bass Coast, I tried to also add in some additional bass flavor. Not everyone going to an event called “Twink Bash” is going for the specific DJs, so I tried to make this mix rowdy, danceable, and super queer to help the iconic Miss Twink USA shine.
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