Born and raised in Portland Oregon, Dave Quam’s childhood was spent drawing and obsessively collecting and researching sounds from all over the world. Fascinated by the little details within the records he would find, he began taking an interest in documenting his reactions, taking cues from legendary journalists of yesteryear such as Nick Tosches. in 2005 he moved the Windy City to study visual & sound art at the School of the Art Institute of Chicago, and started soaking in the city’s rich history of jazz and dance music. During his time as a student, he began playing around with recording his own experimental sounds with various lo-fi electronics. Simultaneously he began DJing house parties and penning his seminal blog It's After the End of the World. With it, he followed the mutations caused by social media on many hyper-localized genres from all over the globe. Among these were juke & footwork culture from his adopted home, which he’s documented at large for various publications such as XLR8R, Spin, and Rolling Stone, gaining him international attention. He Relocated back to his hometown after finishing school, but his time in Chicago and his friendships with many pivotal characters from the city’s vibrant scene continued to influence him. Deciding to take his interest in production further, Quam released his singularly anarchistic EP Dead Long Time on Los Angeles-based label Fade to Mind in 2012 under the moniker Massacooramaan, a collection of the earliest examples of his brutalist electronic collages. He continued the chaos with two more EPs Drum Fission, a collection of raw sc-fi percussion DJ tools, and Cave Vision, a dark web of introverted electronics created while struggling with substance abuse. He’s toured the US and Mexico several times off the strength of his three EPs, as well as holding long-term local DJ residencies like his parties The Cave and Ecstasy. While he’s constantly taking in influences from various microcosms of global club music, rap, and experimental music, Quam has never confined himself to a single area, and prefers to create his own mangled Frankenstein compositions that challenge categorization. Retiring his old handle and since operating without an alias, he has since put out almost 20 self-released projects since 2020 via his own Bandcamp. Now 15 years deep in his journey, his mission is still the same: to create confusion within the traditional boundaries that separate pop culture, dance music, and the avant-garde.