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viewing 1 To 25 of 36 items
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LP
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BK 043LP
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The Gamelatron is many things; one could call it a sculpture, a multimodal installation, an instrument, a robot, a feat of engineering, a vision -- and it is all of these things. More importantly, though, it is a concept sustained by Aaron Taylor Kuffner, aka Zemi17, whose Gamelatrons are "sound producing kinetic sculptures" designed to create an immersive, visceral experience for the listener. Not a small feat, and yet the ambitions of Zemi17 are absolutely realized in this long-standing project, culminating now in his third release for The Bunker NY: Gamelatron Bidadari. The Gamelatron Bidadari is not just a name -- it is one of seventy-plus musical sculptures that Zemi17 has conceptualized, designed, and fabricated. Therefore, it would be inaccurate to think of this release as simply a series of arrangements composed in a finite period of time. Rather, it's a window into a project and a process that is much larger than any single album can encapsulate. Gamelatron Bidardi is the culmination of more than a decade of work, and is central to Zemi17's evolution, not only as a musician but as an artist. Having studied gamelan for many years in Indonesian villages and at the Institut Seni Indonesia in Yogyakarta, Kuffner is a musician, an artist, technologist, and craftsman. The gongs in his sculptures are co-created with master Indonesian artisans. Each Gamelatron composition is site-responsive, meaning its sounds are composed for the acoustics and intentions of the space it inhabits, whether it's an art gallery, a wooded landscape, or the inner temple of Burning Man. The Gamelatron does not stand alone: it is in constant co-creation with its physical environment, and in dialogue with gamelan's long-standing history. Originally exhibited at the Smithsonian Renwick as part of a show entitled, No Spectators: The Art of Burning Man, the Gamelatron Bidadari produces sounds that are delicate yet strong, and deeply hypnotic. Textured chiming creates intricate polyrhythmic patterns that are both complex and simple, or in a word, elegant. On Gamelan Bidadari, Zemi17 refrains from adhering to the strict musical structures; his approach to composition is free flowing. The music conjures up natural wonder, and the four sculptures that make up the Gamelatron Bidadari, in fact, resemble trees. They are four independent, yet connected entities each with a large gong situated at their structural base -- the sonic "roots" of the sculpture -- while smaller gongs branch off of a golden, trunk-like spine. The Gamelatron Bidadari is as physically stunning as it is mesmerizing to the ear.
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BK 042EP
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When Max Ravitz created a few tracks under his new alias Pizzaboy, they were never meant to be released. One friend passed them on to another, until the tracks were in the hands of Mike Servito -- quickly becoming regulars in his rotation. As the name aptly suggests, Deep Dish is a body-ode to Ravitz's upbringing in Chicago. Known for his varied production aliases and prolific releases as Patricia, Ravitz finds a vehicle for some of his earliest midwestern influences in this debut release for The Bunker NY. An avid listener of booty house in his youth, Ravitz gravitated towards the genre's quintessential jacking energy, but couldn't relate as much to its lyrics. He says, "I've always loved it, but didn't totally connect with some of the messaging, so the first song I made was me trying to flip the archetype and make consent-focused lyrics." Deep Dish is an expression of Ravitz's love for the genre, though he refashions and recontextualizes some of its central characteristics. For example, lyrics from "No Affection", subvert the standard, sexualized vocal tropes; instead you get "Face up, ass down / Let me pull out your chair / I'm a different kind of man you see / I'm more self-aware." Deep Dish is booty house for 2020, envisioned through a different, perhaps more sensitive lens. Despite Pizzaboy's alternate take on booty house, these four supreme cuts are still built for peak-time floors. Baked with just enough acid and heat, Deep Dish is primed to be a dancefloor classic, feeding both body and soul.
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BK 041LP
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Sometimes you want something so badly you don't even know to ask for it in the first place. Like Adam and Eve stumbling upon the fruit of knowledge -- or psychedelic techno wizards Donato Dozzy and Retina.it (aka Lino Monaco and Nicola Buono) producing a pitch-perfect, vintage-styled minimal wave record, filled with icy synths, shuddering bass, and anthemic vocals, sounding like a lost gem unearthed from 1982 for the first time. Except it's not -- this record is brand new. The three Italians first came together under the moniker Le Officine Di Efesto, releasing an EP of murky left-field techno on Dozzy's own Spazio Disponibile. They quickly discovered a shared love of classic post-punk, wave, and synthpop, and not long after, Men With Secrets was born. "Men With Secrets" might sound like an old-school synthpop act you've never heard of, but the name is actually borrowed from Richard Bone, an early New York electronic musician and minimal pop pioneer. The trio's name is but one of their many homages -- Cabaret Voltaire, The Human League, New Order, and even Dopplereffekt are additional reference points -- but this album is neither imitation nor rehash. It's just as carefully and ingeniously produced as you'd expect a record from Donato Dozzy and Retina.it to be, except it's filled with poppy hooks so brilliantly catchy they'll stick in your head until you hit repeat and find yourself singing along. These Men With Secrets clearly have their tongue placed firmly in cheek: check the record's title and artwork for proof. But the music is deadly serious. The drums hit hard, the synths soar to emotional heights, and the vocals intone rhythmically. All of it' is coated in the warm fuzz of analog tape. Not many records on The Bunker New York are as likely to be played in goth clubs as they are by adventurous techno DJs, but then again, this is not your average Bunker New York record. Mastered by Peter Van Hoesen. Cut at Manmade Mastering.
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BK 040EP
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A stunningly confident four-track EP that harnesses the power of deep rave with twisted-up vocals, acid lines, and techniques drawn from the best of classic house topology storming propulsively into the future. Love Letters is NY-based designer and musician Maxime Robillard whose creative process for both design and music often begin from the same consideration of function, "What is the use, what is the environment. How do I want people to move through or move to the sounds? Movement is integral to my creative process."
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BK 039EP
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The Kioku EP is Wata Igarashi's third release on The Bunker New York, showcasing considerable emotional range that speaks to his long career as a sound designer. All four tracks feature a cinematic, expansive quality that make it easy to imagine how each could fit specific moments across the arc of a party. Different aspects of the music are carefully balanced and combined: seemingly simple patterns in the foreground are animated by precise intensities at play in the background.
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BK 038EP
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Seasick Acid is an aquatic addition to the Gunnar Haslam multiverse, a twisting realm of mirrored realities and fully realized continents with their own submarine logic systems. The Bunker New York asked Gunnar Haslam about the story behind this EP, his third release on the label, and confirmed that he has not been recently seasick but did grow up by the ocean spending plenty of time on boats as a young man.
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BK 037EP
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Lauren Flax, Detroit native and long-time Brooklyn resident, releases on The Bunker New York. 2018 has seen Flax busy in her home studio, refining her analog hardware live set and working on her solo productions. One Man's House Is Another Woman's Techno is the fantastic result of this work. All three tracks on the record maintain Flax's presence and strong dancefloor vibe. Acidic with a serious vibe.
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BK 036EP
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Justin Cudmore's "Are You Ready" is a track that makes you stay at the party longer. It's the result of some early experimentation with the studio setup in his old apartment and one of the first white label acid tracks he began playing out. Derek Plaslaiko's remix has a timeless and time-suspending sleazy vibe, rocking the darker corners of the afterhours. Gunnar Haslam's treatment snaps us all out of it a bit by sharpening up the melody and bringing the percolating acid line to the fore.
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BK 034EP
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The Bunker New York release LDY OSC's powerful debut EP, Magic² of 8 EP, which takes inspiration from Liaisons Dangereuses as much as it does from Sähkö Recordings and Mayan Cosmology. Alyssa Barrera Auvinen, who would become LDY OSC, grew up in Laredo, Texas on the conflicted border between the United States and Mexico. A record that breathes and hits hard on a dancefloor, retaining the humanity of LDY OSC's vocal explorations alongside the machine soul of her synthesizer manipulations.
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BK 033EP
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Clay Wilson's Law Of Seven EP comprises a meditative and ecstatic homage to deep listening techno with mystical overtones. The "Law Of Seven" refers to the spiritualist philosopher Gurdjieff's idea that the evolution of phenomena proceeds according to a universal seven-step process. The tracks on this EP were inspired by Wilson's performance at FUSE Brussels. The result is a release that feels dynamic and live, enhanced by extremely precise sound staging that allows the music to inhabit the dance floor sonically and spatially.
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BK 032EP
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From the very first track, it's clear that Abby Echiverri's debut, Ab Initio EP, is something different and rare: a polished and fresh interpretation of electronic music that incorporates classic electro squelches with intricate broken beats and expansive synthesizer zone-outs. When The Bunker New York asked her to explain her process of creating these hardware-based jams, Abby said: "It all stems from my own experiences on the dancefloor and wanting to recreate that for other people. I want to make music that rewires the brain: music that is challenging, yet groovy... repetitive, yet evolving. An aural psychedelic."
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BK 030EP
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Clay Wilson's third release on The Bunker New York is a dance EP that manages to be both restrained and cacophonous. The unreleased track "Osho" is given the remix treatment. While the original version is subtly shifting with a cascade of rhythm at the forefront, the Jasen Loveland remix acidifies the track and adds a punch of darkness. Derek Plaslaiko's "oogly boogly" remix delivers a jangly swing that loosens up Clay's tight production to great effect. rrao's contribution to the mix is a subtle and weird version with a murmuring vocal amping up the surreal abstraction.
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BK 028EP
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Following acclaimed records on L.I.E.S. and Silent Season, residencies at Issue Project Room and Bell Labs plus a busy global touring schedule as both a DJ and live performer, The Bunker New York present Lori Napoleon's, aka Antenes, Ante Meridiem EP under her Antemeridian production moniker. The Antemeridian project is a special outlet for her more melodic synthesizer compositions. With this EP, Antemeridian has created nothing less than a masterwork of synthesis comprising unique soundscapes unbelievably detailed and crisp.
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BK 027EP
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Limited repress. Ninos Du Brasil is Nico Vascellari and Nicolò Fortuni. Invoking the power of a stampeding herd of mythical beasts, the Animais Soar O Alarme 12" is a carnivalesque dancefloor exploration that highlights Ninos Du Brasil's unbridled percussive sound. The A side presents the shadowy duo's original track -- a rollicking and propulsive explosion of beats unified by steady stomping bellows of unknown origin. The B side sees Patrick Russell providing the first ever remix of a Ninos du Brasil track, imbued with the precision, discipline, and restraint, making "Animais Soar O Alarme" seem all the wilder.
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BK 024EP
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With Future Nights, Uwe Schmidt offers a heady experiment in what happens when a track takes you so far inside your own head that you're in danger of losing your way back. The A side is comprised of two fuzzy vocal techno tracks that are as fun to listen to as they will be to subject to some heavy tweaking. The B side, "Chemistry", is particularly versatile with elements of darker techno stirred into a disorienting, stereophonic maelstrom that's guaranteed to cause a dancefloor to lose its moorings until the track's dry academic vocal reassures you that it's all chemistry.
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BK 026EP
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The Bunker New York present Nomadic EP from the new analog synth project of Jeremy Berman, J. F. Burma. His first record produced under the influence of a toddler. All three tracks have a very live feel as Jeremy draws most of his inspiration from interacting with the music machines during late night jam sessions. The three tracks that comprise the Nomadic EP are the precisely perfect mystical outsider jams for those sunrises when a bit of human-modulated machine music is exactly what's needed.
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BK 025LP
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Double LP version. The latest transmission from the world of Gunnar Haslam, Kalaatsakia wildly sprawls across the intersections of techno and more abstract sounds to take the listener on a wide-ranging journey from the subterranean to the coastal, from blown-out dub tones through fractured rhythms. An incredible work that is not easy to pigeonhole, Kalaatsakia is a full-length album that navigates and sketches landscapes where new languages are created from old, dead ones to emerge as the lingua franca of interconnected immersive zones. Haslam is an avid home listener of dub, dancehall, and calypso, and that influence is quickly felt as Kalaatsakia launches with a tight electro snap and dubwise crash. Kalaatsakia advances and retreats seasonally, tightening up for the floor with the chrome-plated "Broadcast" and "Kjolle" while splintering apart on "Kalapuyan" and "nxbound". Its constituent parts are often left to collapse in on themselves, smearing themes into residual trails. As the narrative of the album disintegrates and unfolds into more deconstructed territory, it stretches out even further with a striking skittering mental tease, settling into burbling sub-audible vocals and resonant spaces that all form a part of Haslam's self-created subconscious language.
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BK 025CD
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The latest transmission from the world of Gunnar Haslam, Kalaatsakia wildly sprawls across the intersections of techno and more abstract sounds to take the listener on a wide-ranging journey from the subterranean to the coastal, from blown-out dub tones through fractured rhythms. An incredible work that is not easy to pigeonhole, Kalaatsakia is a full-length album that navigates and sketches landscapes where new languages are created from old, dead ones to emerge as the lingua franca of interconnected immersive zones. Haslam is an avid home listener of dub, dancehall, and calypso, and that influence is quickly felt as Kalaatsakia launches with a tight electro snap and dubwise crash. Kalaatsakia advances and retreats seasonally, tightening up for the floor with the chrome-plated "Broadcast" and "Kjolle" while splintering apart on "Kalapuyan" and "nxbound". Its constituent parts are often left to collapse in on themselves, smearing themes into residual trails. As the narrative of the album disintegrates and unfolds into more deconstructed territory, it stretches out even further with a striking skittering mental tease, settling into burbling sub-audible vocals and resonant spaces that all form a part of Haslam's self-created subconscious language.
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BK 020LP
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Double LP version. The Bunker New York present the second full-length album on their label: Valere Aude, the debut album from Romans, a collaborative project between New York techno producer Gunnar Haslam and Vienna-based acid evangelist Johannes Auvinen (aka Tin Man). Featuring 12 tracks of hallucinogenic, psychedelic techno, Valere Aude is an acid-etched trip to the outer reaches of the mind. "I just really like listening to albums. I think the popular notion of techno not lending itself to the album format is just a myth," says Haslam. Both Haslam and Auvinen are no strangers to the album format - Haslam has released three under his own name, and Tin Man has released no fewer than six. "The album format allows for more cohesive artistic statements than other formats - it feels like more of an achievement and delivers a filled-out narrative," explains Auvinen. That's a perfect summation of Valere Aude. Building on the blueprint they sketched with Ambulare Aude EP (BK 012EP 2015), their first 12" for The Bunker New York, Valere Aude presents a fleshed-out vision of another world where acid techno falls like rain upon a forgotten civilization. "The album connects to a fantastic fictional history in which we are imagining attitudes lost to the waters of time," Auvinen says. The track titles, in fact, allude to geographic designations in the greater Roman empire, adds Haslam. Although both Haslam and Auvinen are fully established artists in their own right, Romans is more than a meeting of the minds. "We are discovering a third entity as Romans, within Romans, which is neither he [Haslam] nor I," explains Auvinen, cryptically. "Our decisions as producers become simpler as we get closer to discovering Romans' sound." Haslam concurs: "Our production process is pretty quick - our compositional style is similar. We give each jam all that we have, then, later, sort 'em out and let providence decide whether it's any good." The finished product is a steamy, moody record, experimenting with atmospheres, tempos, and sounds, designed for blistering hot days and cold, rainy nights.
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BK 020CD
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The Bunker New York present the second full-length album on their label: Valere Aude, the debut album from Romans, a collaborative project between New York techno producer Gunnar Haslam and Vienna-based acid evangelist Johannes Auvinen (aka Tin Man). Featuring 12 tracks of hallucinogenic, psychedelic techno, Valere Aude is an acid-etched trip to the outer reaches of the mind. "I just really like listening to albums. I think the popular notion of techno not lending itself to the album format is just a myth," says Haslam. Both Haslam and Auvinen are no strangers to the album format - Haslam has released three under his own name, and Tin Man has released no fewer than six. "The album format allows for more cohesive artistic statements than other formats - it feels like more of an achievement and delivers a filled-out narrative," explains Auvinen. That's a perfect summation of Valere Aude. Building on the blueprint they sketched with Ambulare Aude EP (BK 012EP 2015), their first 12" for The Bunker New York, Valere Aude presents a fleshed-out vision of another world where acid techno falls like rain upon a forgotten civilization. "The album connects to a fantastic fictional history in which we are imagining attitudes lost to the waters of time," Auvinen says. The track titles, in fact, allude to geographic designations in the greater Roman empire, adds Haslam. Although both Haslam and Auvinen are fully established artists in their own right, Romans is more than a meeting of the minds. "We are discovering a third entity as Romans, within Romans, which is neither he [Haslam] nor I," explains Auvinen, cryptically. "Our decisions as producers become simpler as we get closer to discovering Romans' sound." Haslam concurs: "Our production process is pretty quick - our compositional style is similar. We give each jam all that we have, then, later, sort 'em out and let providence decide whether it's any good." The finished product is a steamy, moody record, experimenting with atmospheres, tempos, and sounds, designed for blistering hot days and cold, rainy nights.
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BK 019EP
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Feelings EP, Ulysses's second release on The Bunker New York, is confident, coherent, and carefully arranged. "I've found that I only make good music if I'm experimenting," says Ulysses, explaining his compositional process. "How Does It Feel To Feel?" features low-slung basslines and synthesizer blasts that sound like jets flying overhead. "Object of Interest" runs at a similarly slow pace but feels slightly less demented, intensifying the atmosphere and priming it for peak-time. "The Mascara Snake" is the quintessential B-side sleeper: a moody, melodic synth-pop slow-jam that sounds like Duran Duran on some very high quality psychedelics.
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BK 018EP
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The world knows Derek Plaslaiko primarily as a DJ (he caught the attention of Carl Craig through his late-'90s residency at legendary Detroit club Motor); but as it turns out, he's pretty handy with gear, too. On "Cat Call," insistent synthesizer squelches give way to manic bleeps and steadily developing percussion until a ghastly voice intones a dancefloor mantra. Halfway through "In The Clouds," its drum break gives way to a hazy, murky interlude, before finishing off with machine gun snares for maximum dancefloor intensity. Mastered by Neel at EnissLab. Cut at Manmade Mastering. Pressed at Quality Record Pressings.
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BK 017EP
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Zemi17's first release for The Bunker New York, Impressions (BK 007EP, 2014), was a landmark release for the label, a record that brought the swirling, shifting sounds of minimalist music to the dancefloor. Zipper sees him expanding his musical palette considerably, in which his gamelan-derived sound design pushes further out toward the expanses of techno's realm. While gamelan provides the foundation for the EP's sound design, Zipper is definitely a techno record -- the rollicking electro rhythms of "Trickles in the Dark" and the hypnotic, dark mood of "An Army of Crickets," for instance, will set dancefloors alight.
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BK 016EP
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Patrick Russell (Interdimensional Transmissions), is perhaps best known for his genre-bending DJ sets at the now-infamous No Way Back parties in Detroit and beyond. Here, he delivers three cuts of heady, cerebral bliss. In Russell's hands, Clay Wilson's "E4" becomes a spaced-out stepper's delight. His rework of Romans' "Coptos" lets the acidic undertones of the original run free while snappy percussion holds focus. And his remix of Zemi17's "Rangda," stripped to its bare essentials, is almost a purer representation of the original than the original itself, designed to lift a willing crowd into a trance state.
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12"
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BK 014EP
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"I'm always looking for ways to escape that 'block-y,' downbeat-centric feeling," says Clay Wilson. "For me, it's the drone -- what's going on in the background -- that serves to hold my interest." Behind the tightly-wound techno core of "Cataleptic," the sound of a babbling brook and a plaintive, meandering bird call gently give way to the tintinnabulation of a distant bell. But make no mistake -- Wilson's productions are designed for the dancefloor through and through. The static kick-hat pattern of "Feres" contrasts with chunky, stepped percussion, before the ghostly vocal sample (or merely something approaching it) of "Pict" repeats underneath it all.
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