Mess Is Lore: Arushi Jain, Carpet (F.L.H.P), Crimeboys, Cry, MARBLE RYE, Motion Graphics, rrao
About This Event
At Nowadays, Mess Is Lore assembles a lineup of New York electronic DJs — Arushi Jain, Carpet (F.L.H.P.), Crimeboys, Cry, MARBLE RYE, Motion Graphics, and rrao — whose sets emphasize sequencing, texture, and late‑night pacing. The bill foregrounds long‑form control and sound design: Carpet and MARBLE RYE favor careful transitions and duration; Motion Graphics works with studio‑built systems; Cry leans into witch‑house and electroclash edges; Arushi Jain brings an atypical cross‑disciplinary profile as a fractional CMO for AI and SaaS founders.
About the Artists
Arushi Jain
Arushi Jain partners with ambitious AI and SaaS founders as a fractional Chief Marketing Officer & GTM Advisor to build from zero to one to scale.
Carpet (F.L.H.P.)
Carpet (F.L.H.P.) is a New York–based electronic DJ heard in the city’s late-night rooms, including sets at Good Room. Working alongside peers like Jawar, Heidy P, and Juan Maclean, Carpet moves between club-forward DJing and a more performance-minded approach to electronic music.
Crimeboys
Crimeboys is an electronic DJ group heard in New York City rooms like Nowadays, where late-night pacing matters as much as track choice. They have appeared on bills alongside Arushi Jain, Carpet (F.L.H.
Cry
Cry is a DJ whose sets circulate through witch house, electroclash, and new rave, with a focus on sharp transitions and synthetic textures. In New York City, they appear at Nowadays, where lineups have placed them alongside Baby Leo, DJ Plead, Doula, Foodman, Isabella Koen, and Mark Ernestus.
MARBLE RYE
MARBLE RYE is an electronic project and DJ presence heard in New York City’s late-night circuit, including sets at Nowadays. Their work sits in a peer network that includes Arushi Jain, Carpet (F.L.H.P.
Motion Graphics
Motion Graphics is an electronic project associated with musician and producer Joe Williams, developed around studio-built systems and performance-oriented sequencing. The work often blurs synthetic and simulated acoustic timbres, using software tools and controlled randomness to arrive at textures that feel engineered rather than played straight.