Donato Dozzy and Neel are Voices From The Lake, a duo that has redefined techno both in the live arena and in album format. Their debut full length for Prologue was widely heralded as a masterpiece for the way it displayed such an incredible ear for sound design at the same time as painting vivid, multi-layered landscapes of slowly unfolding rhythm and texture. Also excelling when playing live in serene environments like Japan's Labyrinth Festival, the pair explore experimental underwater sounds influenced by nature, African drums and minimalism. With a new EP and second album in the works, the world waits in anticipation to see just where the pair can take their techno soundscapes next. Tonight they treat us to an extended 4 hour set.

Leafar Legov is one half of Giegling duo Kettenkarussell alongside Konstantin. His debut solo EP was released on Giegling earlier this year. Tonight marks his third appearance at The Bunker.

The composer and sculptor Aaron Taylor Kuffner is well known for co-creating the Gamelatron project in 2008, the world’s first fully robotic gamelan orchestra. His one-of-a-kind creation has been shown in major venues and festivals worldwide, ranging from the Smithsonian to Fuji Rock, and at galleries and festivals across Asia, Europe, Russia and North America.

Zemi17 is an musical project created by Kuffner in 1997. Zemi in Japanese means cicada. The 17 references the 17-year lifecycle of the periodical cicadas found in the northeast of the United States. The success of the Gamelatron Project put Zemi 17 on indefinite hiatus until The Bunker dug out one of Kuffer’s last surround sound live sets from Unsound New York in 2012 and asked him for a 12” of that material.

The Bunker is proud to release “Impressions” and “Rangda,” two long and seductive tracks made entirely of sounds of insects, birds, motors and urban noises spliced together with treated samples of gongs and metallophones to create lush techno compositions. It is hard to tell if this release is going to be a new beginning for Zemi17 or an homage to a wildly interesting music character who has been a part of The Bunker community from its early days at subTonic. Either way, these tracks are as beautiful as they are original.

Kuffner has been a a prolific producer of underground and outlaw events in New York since the 90's: as a cofounder of the Ransom Corp, a member of the Blackkat Sound System, Havoc Soundsystem, and Amoeba Technology, he also frequently worked with Complacent Nation. In 2002, he moved to Berlin to produce a multimedia art festival and compose for an experimental theater group, before moving even further afield to Indonesia and immersing himself in the study of gamelan.

Kuffner returned to New York in 2007, joining influential outlaw event crew The Danger as a resident DJ. He began producing music made entirely of samples he had gathered in Indonesia, re-imagined into hypnotic techno masterpieces. Alongside Dok Gregory, he amassed a large sound system that they set up in the front room of The Bunker at Public Assembly for years. Taylor also collaborated with Kevin Balktick to produce the ambient music series “Auditorium,” taught Ableton Live at DubSpot and performed on MIDI breath controllers with the trio Zero Gravity Thinkers.

For the past 12 years, The Bunker New York has led the way for American techno by bringing together hundreds of artists from all over the world. More than a mere techno party, The Bunker unites diverse sounds from across the electronic music spectrum, connecting the dots between house, techno, experimental sounds, and much more. The Bunker New York began as a party, grew up into a record label, and has become a collaborative community, fostered by founder and curator Bryan Kasenic since its launch in 2003.

Kasenic's roots in the world of music go deep. In 1993, at the age of 16, he began DJing on Carnegie Mellon’s WRCT in Pittsburgh. He went on to launch his own radio show on WNYU in 1997. The radio show, and his interest in the many weird corners of the NYC music scene, eventually morphed into the creation of a weekly email newsletter, which included noteworthy party and event listings at a time when nothing of the kind existed online. As Bryan became more established in New York City, he created Beyond Booking, the agency that would become a core part of The Bunker New York. During this time, Bryan was also a sought-after DJ, performing at parties and events on a weekly basis. Currently, Bryan also hosts a weekly show on Red Bull Music Academy Radio, featuring The Bunker's friends and family.

Bryan is much more than a mainstay at The Bunker New York. He has also played in many of the finest clubs and venues around the world: Berghain, Panorama Bar, and Atonal Festival in Berlin; Output, Verboten, and MoMA PS1's Warm Up series in New York; Air Tokyo and Circus Osaka in Japan; Smart Bar in Chicago; the Communikey and Decibel festivals in Boulder and Seattle respectively; Public Works in San Francisco; and many more. Additionally, he has co-produced numerous events and festivals, including several years at Unsound Festival New York. Unsound is one of the leading electronic and experimental music festivals worldwide, and he subsequently brought The Bunker to Krakow, Poland, Unsound's native city.

To understand Kasenic as a DJ one needs only look back at his decades of passion promoting electronic and experimental sounds in New York, and towards the sound of the artists that have become key members of The Bunker New York family: the psychedelic, cerebral bent of Atom™, Voices From The Lake, and Reagenz; the swirling, atmospheric soundscapes of Clay Wilson, Zemi17, and Marco Shuttle; and the industrial-strength hardware dynamics of Løt.te, Mark Verbos, and Romans. 12 years after its founding, The Bunker is stronger than it has ever been and continues to grow, thanks to Kasenic's vision and effort.

Music is a heart thing and being well aware of this, Steffen Bennemann is directing his acoustic pinpricks directly to the point where it hurts: Deep in your soul. Ranging from subtle to rather direct, emotions are at the core of Steffen’s music. The trippyness of his sets does not evolve from the hour-long manipulation of a single bass drum sound, but from the everlasting up and down of an inward journey instead, moving body and soul alike.

Tears of pain versus tears of joy and happiness– it is this narrow zone of transition that Mr. Bennemann devotes his research to. In doing so, House music serves his goals as well as Techno or Dub. While many artists pretending to offer a versatile musical spectrum fall short of their claims on stage, versatility is the basis of Mr. Bennemann’s work.

Cheerfully winking at the self-appointed style police, Steffen drops another record, looking to surprise you once more.

He sat down and looked at the sea. He remained motionless for a time, as if he had come there to follow the movements of the other swimmers and, although the fog prevented him from seeing very far, he stayed there, obstinately, his eyes fixed on the bodies floating with difficulty. Then, when a more powerful wave reached him, he went down onto the sloping sand and slipped among the currents, which quickly immersed him. The sea was calm, and Thomas was in the habit of swimming for long periods without tiring. But today he had chosen a new route. The fog hid the shore. A cloud had come down upon him the sea and the surface was lost in a glow which seemed the only truly real thing...

live analog visuals all night in the Bad Room