Rrose has found her own niche in the American techno underground. Her hypnotic tracks incorporate ideas from ambient and minimalist music as prominently as they do the history of dance music, operating in the same fruitful cross-section between techno and the abstract as many other Further Records releases. Rrose’s debt to experimental music has never been more obvious than on September 20, 2012, when he performed James Tenney's "Having Never Written A Note For Percussion" live in Washington, DC. The simple yet colossal piece is one of that American composer's most famous works, requiring the performer to play one percussive instrument constantly, taking it from the quietest point to the loudest and back again. Done well, it's a fascinating exploration of tone, volume and decay, and a showcase for drone music's unusually transportive powers.

"Never Having Written A Note For Percussion" has always been a personal favourite of Rrose's. He was struck with the inspiration to try it out after touring a disused trolley tunnel beneath downtown DC, where the possibilities of "seemingly endless and unpredictable reverberations" seemed like the perfect environment for Tenney's composition. He made a 32-inch gong played with two mallets the central device of his performance, creating a towering leviathan of sound capable of the softest highs and the deepest lows. It’s a vastness that comes across especially well on the live recording of that 2012 performance, a breathtaking 30 minutes that seems daunting at first but moves with a grace as easy as breathing in and out.

What makes Rrose's take almost definitive is not only does he stretch out the piece to 30 minutes beyond its usual 8-12 minute duration, but even more importantly she offers two versions made in two very different settings. The A-side of the 12-inch features a performance recorded in a studio during his practice sessions. Dry and mic’d up close, its almost stuffy quality is the direct opposite of the live version, like it’s coming from inside your head where the live-recording B-side surrounds you with the booming sound of the gong. That duality makes for a valuable insight into the power of Tenney’s original composition and its wide-open potential for interpretation. "Never Having Written A Note For Percussion" is a powerful study not only in minimalist composition but the importance of the room and environment that a performance, or just pure sound, takes place in, and a potent example of the kind of experimental tendencies that make Rrose one of techno’s more fascinating figures.

Ninos Du Brasil is a project whose origins and background have remained shrouded in mystery. Dedicated to a bold and unlikely mixture of noise, batucada, samba and electronic, their sporadic live appearances have already become legendary and mythological.

Be it a punk squat in Belgium or the famous Venice Biennale of Architecture, Ninos Du Brasil, without fail, rally the troops, from every walk of life, and create some of the biggest festival style parties on the dance floor. For those fortunate enough to have witnessed Ninos Du Brasil live, their stories comprise of otherworldly experiences. NDB’s condensed yet intense set is a fervent intermixture of old school techno, stadium spirit choruses, Carnival style parade celebrations unified with the physical intensity of old school hardcore shows.

A DJ for over 20 years, Jane Fitz is resident at legendary UK festival Freerotation and in London at Night Moves, the party she co-runs with Jade Seatle. Unique in creating her strong reputation from DJing alone, Jane plays a hard-to-categorise mix of music that can take in early UK acid tracks, deep, spacey house, modern psychedelic techno, or ambient textures. That’s why you’re just as likely to hear her playing in the mountains of Japan, the beaches of Montenegro, the warehouses of Birmingham or the basements of London as well as in the world’s most credible clubs, such as Concrete, Tresor, Closer or Panoramabar, often playing lengthy sets or even all night long. And she is now a resident at The Pickle Factory. Recent, unhurried productions have begun to surface under the Invisible Menders name (co-produced with Dom Ahtuam) on cult labels such as Porn Wax, Boe and Animals on Psychedelics. But playing records in obscure locations remains a focus. As always, there is plenty to discover, much to learn and more to come.

Aron Freidman, Thump: “When I was in Berlin last December, I must have heard around twenty different DJs play in one weekend. But only one of them really stuck with me, and that was Eric Cloutier. His sound was dark but warm, steady but dynamic, techno but still house; original and captivating.”

Eric Cloutier’s standards are representative of the pre-social media craze and arguably the old adage of letting music speak for itself. Cloutier’s twenty-plus year commitment has been built upon his integrity as a DJ and authority as a selector. A self-described "record digging psychopath," one only has to refer to his mix of highly sought after cuts from Driftwood Records to see the lengths Cloutier will go to in order to procure the perfect selection. This is truly Cloutier’s nature - one of zeal and infatuation towards the warm, dubby, hypnotic house and techno that has come to characterize his sound as well as his masterful ability to bridge the gap between dance music’s past and its future.

An exception to the norm, Cloutier is not one to capitalize on his Detroit origins. Moving to New York in his 20’s, he became a regular face at The Bunker where he began to further define his innate style of body orientated music. Now situated in Berlin, where he often shows up behind the decks of niche alcoves as well as the world’s best clubs, Cloutier’s reputation as an unequivocal, dexterous force is increasingly becoming one of note. His talents as a producer have also been growing of late, with the establishment of his own imprint Palinoia, Greek for “the obsessive repetition of an act until it is perfected or mastered.” The label has become the new home and optimization for Cloutier’s evolving undertakings. Through Palinoia, Cloutier manages to further synthesize slick, dubby club music to slide into his DJ sets as well as feature lesser known talent he's discovered. He’s a DJ for whom quality - above all else - is the watchword.

Hot Mix is a DJ collective made up of Mike Servito, Gunnar Haslam, and Justin Cudmore, each of whom is a formidable force in their own right. Their all night long b2b2b DJ sets are becoming legendary here in Brooklyn following several takeovers of The Bunker.

Mike Servito is a Detroit original who came up in the 90’s rave scene. Mike’s upfront dirty deep and bitchy taste had an impact on Detroit nightlife for over a decade. From debuting in 1995 at Dat's Poorboy parties, to being a resident at blackbx and Ghostly's Untitled (along with Derek Plaslaiko, Tadd Mullinix, Matthew Dear, and Ryan Elliott), contributing to the bizarrely popular, wild and free Dorkwave, and progressing that concept into Sass (the hippest queer party in Detroit at the time), to blowing minds at Interdimensional Transmissions' No Way Back parties, Servito has made his impression. Moving to Brooklyn, Detroit's loss has been their gain, as he has found a proper home with a residency at The Bunker. These days it's hard to keep up with his travels as he can be heard rocking dance floors worldwide.

Gunnar Haslam is well known for his productions and brings a heady, thoughtful depth to his DJ sets. Academically trained in particle physics and signal processing, he first began DJing and producing music as an undergraduate at NYU. He met Ron Morelli, the founder of L.I.E.S. records, while shopping at A1 Records in the East Village and Ron released Gunnar’s first record in 2013, the highly-acclaimed Mimesiak LP. Since this first release, he’s been highly prolific, putting his career as a physicist on the back burner while going deeper into the world of synths and maintaining a steady outpouring of music spanning acid, techno, ambient and home listening. You have probably heard or danced along to one of his multiple EPs on Delsin, Argot, Mister Saturday Night and Efdemin's Naïf label, or are familiar with his collaborative work with Tin Man as Romans, who released an EP and recent LP on The Bunker New York.

Justin Cudmore has managed to stand out in two cities that are not known for being easy on aspiring musicians: Chicago and New York. He always made music growing up near the small town of Springfield, Illinois, playing drums in different bands and gravitating towards whatever remnants of the 90’s midwest rave scene he was able to find around him. Examining his roots, Justin identifies a move to Chicago in the mid-2000’s as a turning point: “dealing with my sexuality in college I found clubs to be welcoming --I found a community in the music.” He naturally became a part of the scene around Chicago’s Smart Bar, eventually helping out with the seminal blog and mix series Little White Earbuds, while deepening his appreciation for the classic house and acid tracks that continue to inspire him even after leaving the midwest for New York City. Following a move to Brooklyn, his rise as an in-demand DJ on the local underground circuit, Justin released a widely charted debut single ‘Crystal’ on Honey Soundsystem and “Forget it”, his debut EP on The Bunker New York.

Patrick Russell is a true veteran of the US underground, perhaps one of the last unsung heroes of a now lost era in the Midwest. A genuine sonic storyteller, he magically transforms the diaspora of acid, IDM, and pure jack energy into a deep, fluent sonic dialog that never fails to devastate both minds and dance floor.

A Detroit-bred DJ, artist and producer active since the early 90's, Patrick has now made New York City his home. Perhaps best known as a key figure in the legendary No Way Back parties, his ability to weave intensely unique, long-format narratives has earned him critical acclaim for his recent appearance at Berghain, not to mention featured spots at festivals such as Japan’s famed Labyrinth, Unsound, and his numerous appearances at DEMF/Movement. Patrick has also been steadily building a strong catalog of high-profile productions to compliment his increasingly varied, hypnotic, and in-demand DJ sets; his upcoming 3-track remix EP on The Bunker New York also marks his induction as an official resident DJ at the long-running Brooklyn party.

His consummate taste and disciplined execution have created a respect that cannot be purchased. Patrick Russell is not just a name to watch, he is someone to be experienced.

DJ, producer and electronics artist Antenes operates a laboratory of self-made sequencers and modular synthesizers built in the name of rhythmic, sonic, and spatial exploration. Tracing the lineage of synthesizer operation to vintage telephone equipment and inspired by the Buchla 100, her curious studio discipline of manipulating repurposed switchboards was fueled by the desire to breathe new life into long-silenced machines, transforming signal paths through which voices once travelled into sequences that burst with percussive energy and evolving textures, bouncing sound through sound like so many distant AM radio stations on a late night drive. Her 2015 solo production debut, The Track of a Storm EP on L.I.E.S. reveals three tracks of otherworldly techno infused with “lazer shot synthwork,” “ghostly noise layers,” “muscular bass shapes and sparking percussions," appearing on the 2015 best-of lists for Juno and Fact magazine.

A Brooklyn resident by way of Chicago, Antenes' eclectic DJ sets dive into acid-laced techno, shimmering electro, shadowy atmospheres and beyond. With an upcoming EP due out on The Bunker NY in early 2018, she has been kept busy behind the decks of underground events globally, including The Bunker New York, De School Amsterdam, Tresor Berlin, Corsica Studios London and more.

While shopping for vinyl at a record store, Ryan Smith met Ron Like Hell, a veteran DJ of 19 years. Both excited to meet another like-minded gay individual appreciative of timeless music, they were inspired to work on a project together. They really came into their own when they launched Wrecked as a monthly doors open at midnight party at National Underground, which was an immediate success. They've made it their mission to book solid underground talent to express the changing tides in the gay underground. Their sound has taken them to the dance floors of Berlin to San Francisco and The Black Party to 718 Sessions. On their own, Ron works for Academy Records and produces Classic Album Sundays NYC and Ryan works as an agent at the Windish Agency. For the past couple of years, Wrecked has become a regular part of the lineups at The Bunker, shining bright as both openers and in prime time slots.

For the past 15 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; Concrete in Paris; Bassiani in Tbilisi; De School and Shelter in Amsterdam; Organik Festival in Taiwan; Output and MoMA PS1's Warm Up series in New York; Contact, 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. 15 years after its founding, The Bunker is stronger than it has ever been and continues to grow, thanks to Kasenic's vision and effort.