thebunkerny

The Bunker Podcast 235 comes from @erikluebs. This is a live set recorded in Milan on March 28 at the party Acquario. Erik Luebs is a US-born musician and sound designer based in Japan. Eschewing typical genre tropes, Luebs approaches techno with a playfully disruptive technique, reinterpreting the fundamentals using built-from-scratch patches and labyrinthine sequencing. While the labor-intensive process is inspired by a wide range of luminaries such as Mark Fell and Rrose, the resulting music is firmly tied to the dance floor. Luebs released an EP on The Bunker back in 2021, and has since released on DJ Nobu’s Bitta label (@djnobu_bitta), and @nousklaeraudio. He also has an upcoming release on the legendary @kompakt imprint. Erik will be playing an ambisonic surround sound set for a horizontal audience at Going In at Reforestor’s Laboratory in Brooklyn this Friday, and an extended sunrise dancefloor set at The Bunker’s takeover of @nowadaysnyc Nonstop on Sunday morning.

Blacklauren - the techno nom de guerre of Brooklyn’s Lesly Remy Jr. - works far beyond the reach of polite musical resolution. Enormous and pounding, these five tracks revel in what classically-minded listeners would consider dissonance - close intervals and flat fifths are expressed repetitively and hypnotically by whirling, searing synthesizers over undeniably kinetic drum programming. Harmonic ratios that less daring composers or improvisers would only ever use in the approach to resolution - or indeed would historically be considered demonic by early churches - are instead here the entire basis of these works. You are not permitted the safety of a return to a tonic chord, you are not permitted the boneheaded anticipation of a drop on the one, you are instead invited to savor the discomfort, everything progressing at a mechanical, unyielding techno sprint. The result is a fascinating, disorienting space that ultimately works towards liberating the body. In the throbbing, unfamiliar harmonic churn of these body-rattling tracks something sublime bubbles up. Call it psychedelic, call it mesmerizing, call it mental, call it what you wish - but out amid the chug of the kick, as the unresolved melodies and clusters flutter unflinchingly, this freedom from resolution kicks you out of the airplane: it’s thrilling, it’s terrifying, it’s coming at you fast. His work on these tracks can be described as devotional - with monastic dedication he makes certain to fire up Ableton and make some kind of sound every single day, hitting the YouTube tutorial dojo often or calling on fellow masters of dissonance Wata Igarashi or Linear System for expert guidance. He has also been a devotional fan of The Bunker New York, regularly attending our parties since 2010, appearing on several lineups and a pair of podcasts since then. Within the infinite universe of the DAW, he’s locked down a very particular set of instruments and presets, making great use of Reaktor’s realistic emulations of classic synthesizers. So his sonic signature is consistent, recognizable from track to track and also lovingly connected to the legacy of techno, plus the recordings are electric and alive. That’s the beautiful thing about going back to the same well again and again - you drink deeper with each dip. Remy is also the founder of Nyabinghi Electronic Music, a fascinating label that arcwelds together the primal - like the pounding rhythms of Haitian Vodou, familiar to Blacklauren’s ears from his origins in Port-au-Prince - and the future - the various sonic technologies of the last fifty years, deployed precisely. Electrified into artistic ownership by the available time and inspiring swell of summer 2020’s Black Lives Matter actions, Remy makes explicit the label’s efforts to excavate the ceremonial aspects of techno and the futuristic summonings of African diasporic religious and cultural practices. In line with other tremendous futurists like the music and writings of DeForrest Brown, Jr. or the graffiti-as-starship designs of RAMM:ΣLL:ZΣΣ, Blacklauren’s work with the label and on this release sounds like sirens that are ever-approaching, doppler bending as they continually arrive - we’re here in the emergency but still we jubilate. ... full liner notes at thebunkerny.com Mastered by Tim Xavier at Manmade Mastering Artwork by Andrew Charles Edman Liner Notes by Ben Seretan

Blacklauren - the techno nom de guerre of Brooklyn’s Lesly Remy Jr. - works far beyond the reach of polite musical resolution. Enormous and pounding, these five tracks revel in what classically-minded listeners would consider dissonance - close intervals and flat fifths are expressed repetitively and hypnotically by whirling, searing synthesizers over undeniably kinetic drum programming. Harmonic ratios that less daring composers or improvisers would only ever use in the approach to resolution - or indeed would historically be considered demonic by early churches - are instead here the entire basis of these works. You are not permitted the safety of a return to a tonic chord, you are not permitted the boneheaded anticipation of a drop on the one, you are instead invited to savor the discomfort, everything progressing at a mechanical, unyielding techno sprint. The result is a fascinating, disorienting space that ultimately works towards liberating the body. In the throbbing, unfamiliar harmonic churn of these body-rattling tracks something sublime bubbles up. Call it psychedelic, call it mesmerizing, call it mental, call it what you wish - but out amid the chug of the kick, as the unresolved melodies and clusters flutter unflinchingly, this freedom from resolution kicks you out of the airplane: it’s thrilling, it’s terrifying, it’s coming at you fast. His work on these tracks can be described as devotional - with monastic dedication he makes certain to fire up Ableton and make some kind of sound every single day, hitting the YouTube tutorial dojo often or calling on fellow masters of dissonance Wata Igarashi or Linear System for expert guidance. He has also been a devotional fan of The Bunker New York, regularly attending our parties since 2010, appearing on several lineups and a pair of podcasts since then. Within the infinite universe of the DAW, he’s locked down a very particular set of instruments and presets, making great use of Reaktor’s realistic emulations of classic synthesizers. So his sonic signature is consistent, recognizable from track to track and also lovingly connected to the legacy of techno, plus the recordings are electric and alive. That’s the beautiful thing about going back to the same well again and again - you drink deeper with each dip. Remy is also the founder of Nyabinghi Electronic Music, a fascinating label that arcwelds together the primal - like the pounding rhythms of Haitian Vodou, familiar to Blacklauren’s ears from his origins in Port-au-Prince - and the future - the various sonic technologies of the last fifty years, deployed precisely. Electrified into artistic ownership by the available time and inspiring swell of summer 2020’s Black Lives Matter actions, Remy makes explicit the label’s efforts to excavate the ceremonial aspects of techno and the futuristic summonings of African diasporic religious and cultural practices. In line with other tremendous futurists like the music and writings of DeForrest Brown, Jr. or the graffiti-as-starship designs of RAMM:ΣLL:ZΣΣ, Blacklauren’s work with the label and on this release sounds like sirens that are ever-approaching, doppler bending as they continually arrive - we’re here in the emergency but still we jubilate. ... full liner notes at thebunkerny.com Mastered by Tim Xavier at Manmade Mastering Artwork by Andrew Charles Edman Liner Notes by Ben Seretan

Blacklauren - the techno nom de guerre of Brooklyn’s Lesly Remy Jr. - works far beyond the reach of polite musical resolution. Enormous and pounding, these five tracks revel in what classically-minded listeners would consider dissonance - close intervals and flat fifths are expressed repetitively and hypnotically by whirling, searing synthesizers over undeniably kinetic drum programming. Harmonic ratios that less daring composers or improvisers would only ever use in the approach to resolution - or indeed would historically be considered demonic by early churches - are instead here the entire basis of these works. You are not permitted the safety of a return to a tonic chord, you are not permitted the boneheaded anticipation of a drop on the one, you are instead invited to savor the discomfort, everything progressing at a mechanical, unyielding techno sprint. The result is a fascinating, disorienting space that ultimately works towards liberating the body. In the throbbing, unfamiliar harmonic churn of these body-rattling tracks something sublime bubbles up. Call it psychedelic, call it mesmerizing, call it mental, call it what you wish - but out amid the chug of the kick, as the unresolved melodies and clusters flutter unflinchingly, this freedom from resolution kicks you out of the airplane: it’s thrilling, it’s terrifying, it’s coming at you fast. His work on these tracks can be described as devotional - with monastic dedication he makes certain to fire up Ableton and make some kind of sound every single day, hitting the YouTube tutorial dojo often or calling on fellow masters of dissonance Wata Igarashi or Linear System for expert guidance. He has also been a devotional fan of The Bunker New York, regularly attending our parties since 2010, appearing on several lineups and a pair of podcasts since then. Within the infinite universe of the DAW, he’s locked down a very particular set of instruments and presets, making great use of Reaktor’s realistic emulations of classic synthesizers. So his sonic signature is consistent, recognizable from track to track and also lovingly connected to the legacy of techno, plus the recordings are electric and alive. That’s the beautiful thing about going back to the same well again and again - you drink deeper with each dip. Remy is also the founder of Nyabinghi Electronic Music, a fascinating label that arcwelds together the primal - like the pounding rhythms of Haitian Vodou, familiar to Blacklauren’s ears from his origins in Port-au-Prince - and the future - the various sonic technologies of the last fifty years, deployed precisely. Electrified into artistic ownership by the available time and inspiring swell of summer 2020’s Black Lives Matter actions, Remy makes explicit the label’s efforts to excavate the ceremonial aspects of techno and the futuristic summonings of African diasporic religious and cultural practices. In line with other tremendous futurists like the music and writings of DeForrest Brown, Jr. or the graffiti-as-starship designs of RAMM:ΣLL:ZΣΣ, Blacklauren’s work with the label and on this release sounds like sirens that are ever-approaching, doppler bending as they continually arrive - we’re here in the emergency but still we jubilate. ... full liner notes at thebunkerny.com Mastered by Tim Xavier at Manmade Mastering Artwork by Andrew Charles Edman Liner Notes by Ben Seretan

Blacklauren - the techno nom de guerre of Brooklyn’s Lesly Remy Jr. - works far beyond the reach of polite musical resolution. Enormous and pounding, these five tracks revel in what classically-minded listeners would consider dissonance - close intervals and flat fifths are expressed repetitively and hypnotically by whirling, searing synthesizers over undeniably kinetic drum programming. Harmonic ratios that less daring composers or improvisers would only ever use in the approach to resolution - or indeed would historically be considered demonic by early churches - are instead here the entire basis of these works. You are not permitted the safety of a return to a tonic chord, you are not permitted the boneheaded anticipation of a drop on the one, you are instead invited to savor the discomfort, everything progressing at a mechanical, unyielding techno sprint. The result is a fascinating, disorienting space that ultimately works towards liberating the body. In the throbbing, unfamiliar harmonic churn of these body-rattling tracks something sublime bubbles up. Call it psychedelic, call it mesmerizing, call it mental, call it what you wish - but out amid the chug of the kick, as the unresolved melodies and clusters flutter unflinchingly, this freedom from resolution kicks you out of the airplane: it’s thrilling, it’s terrifying, it’s coming at you fast. His work on these tracks can be described as devotional - with monastic dedication he makes certain to fire up Ableton and make some kind of sound every single day, hitting the YouTube tutorial dojo often or calling on fellow masters of dissonance Wata Igarashi or Linear System for expert guidance. He has also been a devotional fan of The Bunker New York, regularly attending our parties since 2010, appearing on several lineups and a pair of podcasts since then. Within the infinite universe of the DAW, he’s locked down a very particular set of instruments and presets, making great use of Reaktor’s realistic emulations of classic synthesizers. So his sonic signature is consistent, recognizable from track to track and also lovingly connected to the legacy of techno, plus the recordings are electric and alive. That’s the beautiful thing about going back to the same well again and again - you drink deeper with each dip. Remy is also the founder of Nyabinghi Electronic Music, a fascinating label that arcwelds together the primal - like the pounding rhythms of Haitian Vodou, familiar to Blacklauren’s ears from his origins in Port-au-Prince - and the future - the various sonic technologies of the last fifty years, deployed precisely. Electrified into artistic ownership by the available time and inspiring swell of summer 2020’s Black Lives Matter actions, Remy makes explicit the label’s efforts to excavate the ceremonial aspects of techno and the futuristic summonings of African diasporic religious and cultural practices. In line with other tremendous futurists like the music and writings of DeForrest Brown, Jr. or the graffiti-as-starship designs of RAMM:ΣLL:ZΣΣ, Blacklauren’s work with the label and on this release sounds like sirens that are ever-approaching, doppler bending as they continually arrive - we’re here in the emergency but still we jubilate. ... full liner notes at thebunkerny.com Mastered by Tim Xavier at Manmade Mastering Artwork by Andrew Charles Edman Liner Notes by Ben Seretan

Blacklauren - the techno nom de guerre of Brooklyn’s Lesly Remy Jr. - works far beyond the reach of polite musical resolution. Enormous and pounding, these five tracks revel in what classically-minded listeners would consider dissonance - close intervals and flat fifths are expressed repetitively and hypnotically by whirling, searing synthesizers over undeniably kinetic drum programming. Harmonic ratios that less daring composers or improvisers would only ever use in the approach to resolution - or indeed would historically be considered demonic by early churches - are instead here the entire basis of these works. You are not permitted the safety of a return to a tonic chord, you are not permitted the boneheaded anticipation of a drop on the one, you are instead invited to savor the discomfort, everything progressing at a mechanical, unyielding techno sprint. The result is a fascinating, disorienting space that ultimately works towards liberating the body. In the throbbing, unfamiliar harmonic churn of these body-rattling tracks something sublime bubbles up. Call it psychedelic, call it mesmerizing, call it mental, call it what you wish - but out amid the chug of the kick, as the unresolved melodies and clusters flutter unflinchingly, this freedom from resolution kicks you out of the airplane: it’s thrilling, it’s terrifying, it’s coming at you fast. His work on these tracks can be described as devotional - with monastic dedication he makes certain to fire up Ableton and make some kind of sound every single day, hitting the YouTube tutorial dojo often or calling on fellow masters of dissonance Wata Igarashi or Linear System for expert guidance. He has also been a devotional fan of The Bunker New York, regularly attending our parties since 2010, appearing on several lineups and a pair of podcasts since then. Within the infinite universe of the DAW, he’s locked down a very particular set of instruments and presets, making great use of Reaktor’s realistic emulations of classic synthesizers. So his sonic signature is consistent, recognizable from track to track and also lovingly connected to the legacy of techno, plus the recordings are electric and alive. That’s the beautiful thing about going back to the same well again and again - you drink deeper with each dip. Remy is also the founder of Nyabinghi Electronic Music, a fascinating label that arcwelds together the primal - like the pounding rhythms of Haitian Vodou, familiar to Blacklauren’s ears from his origins in Port-au-Prince - and the future - the various sonic technologies of the last fifty years, deployed precisely. Electrified into artistic ownership by the available time and inspiring swell of summer 2020’s Black Lives Matter actions, Remy makes explicit the label’s efforts to excavate the ceremonial aspects of techno and the futuristic summonings of African diasporic religious and cultural practices. In line with other tremendous futurists like the music and writings of DeForrest Brown, Jr. or the graffiti-as-starship designs of RAMM:ΣLL:ZΣΣ, Blacklauren’s work with the label and on this release sounds like sirens that are ever-approaching, doppler bending as they continually arrive - we’re here in the emergency but still we jubilate. ... full liner notes at thebunkerny.com Mastered by Tim Xavier at Manmade Mastering Artwork by Andrew Charles Edman Liner Notes by Ben Seretan

Imagine meeting someone at some dark underground function in the Midwest region of the US, somewhere around the turn of the century, and then getting to know them over a 22-ish year period. Then imagine them making music that you respect in the highest regard, which eventually evolves into the most incredible, unique music you’ve ever heard in your life. And from there … the music keeps getting better and WAY crazier. And it starts coming at you more and more rapidly as this artist starts sinking deeper and deeper into the psychedelic nature of the music they’ve created. A sort of beast that consumes the personal being, while leaving only the artist. Then come the releases, and the beast, now more resembling a virus, starts to spread to those who didn’t know this artist personally. At this point, you’re starting to get excited for them! Overjoyed that others out there are finding this artist’s music and diving into everything that YOU also loved about it. You feel immensely proud and excited for what’s coming up for them, while feeling lucky to be around to witness this impending phenomenon. And then … just like that … it’s over. This is the art of my friend Andrew Smith-Rasmussen. Or, that’s how he was known here on earth. Andrew channeled his artistry through an interstellar being known as Jasen Loveland. Some kind of cosmonaut of psychedelia sent down to Earth from a galaxy unknown to scientists, astronomers and other celestial scholars out there. And from that alter ego spawned dozens of aliases, each representing a different style or sound that was wrestling around inside his mind. One of which is captured, bottled and presented here on this 50th release from The Bunker New York. This is the sound of The Lone Flanger. Right from the start, you feel like you’re being pulled into his world by a drumless intro that best lays out what kind of a ride you’re about to jump into. From there, it’s a trip through the cosmos while riding on Haley’s Comet. It’s dangerous, heart-pounding, hair raising, mind-blowing and crazy-making. Much of it is breakbeat driven madness, tailor made for your brain, your body and your own personal being. It’s the sound of Chicago, or Detroit, or any number of places in the Midwest region of the United States. But, not of our current era. It’s been brought to us from someplace on our timeline, but from the FAR distant future. Jasen went all the way out there to bring it back for us. We may never see the era it came from, but at least we can hear it. I’m good with that. I think you will be too. - Derek Plaslaiko, April 2025

Imagine meeting someone at some dark underground function in the Midwest region of the US, somewhere around the turn of the century, and then getting to know them over a 22-ish year period. Then imagine them making music that you respect in the highest regard, which eventually evolves into the most incredible, unique music you’ve ever heard in your life. And from there … the music keeps getting better and WAY crazier. And it starts coming at you more and more rapidly as this artist starts sinking deeper and deeper into the psychedelic nature of the music they’ve created. A sort of beast that consumes the personal being, while leaving only the artist. Then come the releases, and the beast, now more resembling a virus, starts to spread to those who didn’t know this artist personally. At this point, you’re starting to get excited for them! Overjoyed that others out there are finding this artist’s music and diving into everything that YOU also loved about it. You feel immensely proud and excited for what’s coming up for them, while feeling lucky to be around to witness this impending phenomenon. And then … just like that … it’s over. This is the art of my friend Andrew Smith-Rasmussen. Or, that’s how he was known here on earth. Andrew channeled his artistry through an interstellar being known as Jasen Loveland. Some kind of cosmonaut of psychedelia sent down to Earth from a galaxy unknown to scientists, astronomers and other celestial scholars out there. And from that alter ego spawned dozens of aliases, each representing a different style or sound that was wrestling around inside his mind. One of which is captured, bottled and presented here on this 50th release from The Bunker New York. This is the sound of The Lone Flanger. Right from the start, you feel like you’re being pulled into his world by a drumless intro that best lays out what kind of a ride you’re about to jump into. From there, it’s a trip through the cosmos while riding on Haley’s Comet. It’s dangerous, heart-pounding, hair raising, mind-blowing and crazy-making. Much of it is breakbeat driven madness, tailor made for your brain, your body and your own personal being. It’s the sound of Chicago, or Detroit, or any number of places in the Midwest region of the United States. But, not of our current era. It’s been brought to us from someplace on our timeline, but from the FAR distant future. Jasen went all the way out there to bring it back for us. We may never see the era it came from, but at least we can hear it. I’m good with that. I think you will be too. - Derek Plaslaiko, April 2025

Imagine meeting someone at some dark underground function in the Midwest region of the US, somewhere around the turn of the century, and then getting to know them over a 22-ish year period. Then imagine them making music that you respect in the highest regard, which eventually evolves into the most incredible, unique music you’ve ever heard in your life. And from there … the music keeps getting better and WAY crazier. And it starts coming at you more and more rapidly as this artist starts sinking deeper and deeper into the psychedelic nature of the music they’ve created. A sort of beast that consumes the personal being, while leaving only the artist. Then come the releases, and the beast, now more resembling a virus, starts to spread to those who didn’t know this artist personally. At this point, you’re starting to get excited for them! Overjoyed that others out there are finding this artist’s music and diving into everything that YOU also loved about it. You feel immensely proud and excited for what’s coming up for them, while feeling lucky to be around to witness this impending phenomenon. And then … just like that … it’s over. This is the art of my friend Andrew Smith-Rasmussen. Or, that’s how he was known here on earth. Andrew channeled his artistry through an interstellar being known as Jasen Loveland. Some kind of cosmonaut of psychedelia sent down to Earth from a galaxy unknown to scientists, astronomers and other celestial scholars out there. And from that alter ego spawned dozens of aliases, each representing a different style or sound that was wrestling around inside his mind. One of which is captured, bottled and presented here on this 50th release from The Bunker New York. This is the sound of The Lone Flanger. Right from the start, you feel like you’re being pulled into his world by a drumless intro that best lays out what kind of a ride you’re about to jump into. From there, it’s a trip through the cosmos while riding on Haley’s Comet. It’s dangerous, heart-pounding, hair raising, mind-blowing and crazy-making. Much of it is breakbeat driven madness, tailor made for your brain, your body and your own personal being. It’s the sound of Chicago, or Detroit, or any number of places in the Midwest region of the United States. But, not of our current era. It’s been brought to us from someplace on our timeline, but from the FAR distant future. Jasen went all the way out there to bring it back for us. We may never see the era it came from, but at least we can hear it. I’m good with that. I think you will be too. - Derek Plaslaiko, April 2025

Imagine meeting someone at some dark underground function in the Midwest region of the US, somewhere around the turn of the century, and then getting to know them over a 22-ish year period. Then imagine them making music that you respect in the highest regard, which eventually evolves into the most incredible, unique music you’ve ever heard in your life. And from there … the music keeps getting better and WAY crazier. And it starts coming at you more and more rapidly as this artist starts sinking deeper and deeper into the psychedelic nature of the music they’ve created. A sort of beast that consumes the personal being, while leaving only the artist. Then come the releases, and the beast, now more resembling a virus, starts to spread to those who didn’t know this artist personally. At this point, you’re starting to get excited for them! Overjoyed that others out there are finding this artist’s music and diving into everything that YOU also loved about it. You feel immensely proud and excited for what’s coming up for them, while feeling lucky to be around to witness this impending phenomenon. And then … just like that … it’s over. This is the art of my friend Andrew Smith-Rasmussen. Or, that’s how he was known here on earth. Andrew channeled his artistry through an interstellar being known as Jasen Loveland. Some kind of cosmonaut of psychedelia sent down to Earth from a galaxy unknown to scientists, astronomers and other celestial scholars out there. And from that alter ego spawned dozens of aliases, each representing a different style or sound that was wrestling around inside his mind. One of which is captured, bottled and presented here on this 50th release from The Bunker New York. This is the sound of The Lone Flanger. Right from the start, you feel like you’re being pulled into his world by a drumless intro that best lays out what kind of a ride you’re about to jump into. From there, it’s a trip through the cosmos while riding on Haley’s Comet. It’s dangerous, heart-pounding, hair raising, mind-blowing and crazy-making. Much of it is breakbeat driven madness, tailor made for your brain, your body and your own personal being. It’s the sound of Chicago, or Detroit, or any number of places in the Midwest region of the United States. But, not of our current era. It’s been brought to us from someplace on our timeline, but from the FAR distant future. Jasen went all the way out there to bring it back for us. We may never see the era it came from, but at least we can hear it. I’m good with that. I think you will be too. - Derek Plaslaiko, April 2025

Imagine meeting someone at some dark underground function in the Midwest region of the US, somewhere around the turn of the century, and then getting to know them over a 22-ish year period. Then imagine them making music that you respect in the highest regard, which eventually evolves into the most incredible, unique music you’ve ever heard in your life. And from there … the music keeps getting better and WAY crazier. And it starts coming at you more and more rapidly as this artist starts sinking deeper and deeper into the psychedelic nature of the music they’ve created. A sort of beast that consumes the personal being, while leaving only the artist. Then come the releases, and the beast, now more resembling a virus, starts to spread to those who didn’t know this artist personally. At this point, you’re starting to get excited for them! Overjoyed that others out there are finding this artist’s music and diving into everything that YOU also loved about it. You feel immensely proud and excited for what’s coming up for them, while feeling lucky to be around to witness this impending phenomenon. And then … just like that … it’s over. This is the art of my friend Andrew Smith-Rasmussen. Or, that’s how he was known here on earth. Andrew channeled his artistry through an interstellar being known as Jasen Loveland. Some kind of cosmonaut of psychedelia sent down to Earth from a galaxy unknown to scientists, astronomers and other celestial scholars out there. And from that alter ego spawned dozens of aliases, each representing a different style or sound that was wrestling around inside his mind. One of which is captured, bottled and presented here on this 50th release from The Bunker New York. This is the sound of The Lone Flanger. Right from the start, you feel like you’re being pulled into his world by a drumless intro that best lays out what kind of a ride you’re about to jump into. From there, it’s a trip through the cosmos while riding on Haley’s Comet. It’s dangerous, heart-pounding, hair raising, mind-blowing and crazy-making. Much of it is breakbeat driven madness, tailor made for your brain, your body and your own personal being. It’s the sound of Chicago, or Detroit, or any number of places in the Midwest region of the United States. But, not of our current era. It’s been brought to us from someplace on our timeline, but from the FAR distant future. Jasen went all the way out there to bring it back for us. We may never see the era it came from, but at least we can hear it. I’m good with that. I think you will be too. - Derek Plaslaiko, April 2025

Imagine meeting someone at some dark underground function in the Midwest region of the US, somewhere around the turn of the century, and then getting to know them over a 22-ish year period. Then imagine them making music that you respect in the highest regard, which eventually evolves into the most incredible, unique music you’ve ever heard in your life. And from there … the music keeps getting better and WAY crazier. And it starts coming at you more and more rapidly as this artist starts sinking deeper and deeper into the psychedelic nature of the music they’ve created. A sort of beast that consumes the personal being, while leaving only the artist. Then come the releases, and the beast, now more resembling a virus, starts to spread to those who didn’t know this artist personally. At this point, you’re starting to get excited for them! Overjoyed that others out there are finding this artist’s music and diving into everything that YOU also loved about it. You feel immensely proud and excited for what’s coming up for them, while feeling lucky to be around to witness this impending phenomenon. And then … just like that … it’s over. This is the art of my friend Andrew Smith-Rasmussen. Or, that’s how he was known here on earth. Andrew channeled his artistry through an interstellar being known as Jasen Loveland. Some kind of cosmonaut of psychedelia sent down to Earth from a galaxy unknown to scientists, astronomers and other celestial scholars out there. And from that alter ego spawned dozens of aliases, each representing a different style or sound that was wrestling around inside his mind. One of which is captured, bottled and presented here on this 50th release from The Bunker New York. This is the sound of The Lone Flanger. Right from the start, you feel like you’re being pulled into his world by a drumless intro that best lays out what kind of a ride you’re about to jump into. From there, it’s a trip through the cosmos while riding on Haley’s Comet. It’s dangerous, heart-pounding, hair raising, mind-blowing and crazy-making. Much of it is breakbeat driven madness, tailor made for your brain, your body and your own personal being. It’s the sound of Chicago, or Detroit, or any number of places in the Midwest region of the United States. But, not of our current era. It’s been brought to us from someplace on our timeline, but from the FAR distant future. Jasen went all the way out there to bring it back for us. We may never see the era it came from, but at least we can hear it. I’m good with that. I think you will be too. - Derek Plaslaiko, April 2025

Imagine meeting someone at some dark underground function in the Midwest region of the US, somewhere around the turn of the century, and then getting to know them over a 22-ish year period. Then imagine them making music that you respect in the highest regard, which eventually evolves into the most incredible, unique music you’ve ever heard in your life. And from there … the music keeps getting better and WAY crazier. And it starts coming at you more and more rapidly as this artist starts sinking deeper and deeper into the psychedelic nature of the music they’ve created. A sort of beast that consumes the personal being, while leaving only the artist. Then come the releases, and the beast, now more resembling a virus, starts to spread to those who didn’t know this artist personally. At this point, you’re starting to get excited for them! Overjoyed that others out there are finding this artist’s music and diving into everything that YOU also loved about it. You feel immensely proud and excited for what’s coming up for them, while feeling lucky to be around to witness this impending phenomenon. And then … just like that … it’s over. This is the art of my friend Andrew Smith-Rasmussen. Or, that’s how he was known here on earth. Andrew channeled his artistry through an interstellar being known as Jasen Loveland. Some kind of cosmonaut of psychedelia sent down to Earth from a galaxy unknown to scientists, astronomers and other celestial scholars out there. And from that alter ego spawned dozens of aliases, each representing a different style or sound that was wrestling around inside his mind. One of which is captured, bottled and presented here on this 50th release from The Bunker New York. This is the sound of The Lone Flanger. Right from the start, you feel like you’re being pulled into his world by a drumless intro that best lays out what kind of a ride you’re about to jump into. From there, it’s a trip through the cosmos while riding on Haley’s Comet. It’s dangerous, heart-pounding, hair raising, mind-blowing and crazy-making. Much of it is breakbeat driven madness, tailor made for your brain, your body and your own personal being. It’s the sound of Chicago, or Detroit, or any number of places in the Midwest region of the United States. But, not of our current era. It’s been brought to us from someplace on our timeline, but from the FAR distant future. Jasen went all the way out there to bring it back for us. We may never see the era it came from, but at least we can hear it. I’m good with that. I think you will be too. - Derek Plaslaiko, April 2025

Imagine meeting someone at some dark underground function in the Midwest region of the US, somewhere around the turn of the century, and then getting to know them over a 22-ish year period. Then imagine them making music that you respect in the highest regard, which eventually evolves into the most incredible, unique music you’ve ever heard in your life. And from there … the music keeps getting better and WAY crazier. And it starts coming at you more and more rapidly as this artist starts sinking deeper and deeper into the psychedelic nature of the music they’ve created. A sort of beast that consumes the personal being, while leaving only the artist. Then come the releases, and the beast, now more resembling a virus, starts to spread to those who didn’t know this artist personally. At this point, you’re starting to get excited for them! Overjoyed that others out there are finding this artist’s music and diving into everything that YOU also loved about it. You feel immensely proud and excited for what’s coming up for them, while feeling lucky to be around to witness this impending phenomenon. And then … just like that … it’s over. This is the art of my friend Andrew Smith-Rasmussen. Or, that’s how he was known here on earth. Andrew channeled his artistry through an interstellar being known as Jasen Loveland. Some kind of cosmonaut of psychedelia sent down to Earth from a galaxy unknown to scientists, astronomers and other celestial scholars out there. And from that alter ego spawned dozens of aliases, each representing a different style or sound that was wrestling around inside his mind. One of which is captured, bottled and presented here on this 50th release from The Bunker New York. This is the sound of The Lone Flanger. Right from the start, you feel like you’re being pulled into his world by a drumless intro that best lays out what kind of a ride you’re about to jump into. From there, it’s a trip through the cosmos while riding on Haley’s Comet. It’s dangerous, heart-pounding, hair raising, mind-blowing and crazy-making. Much of it is breakbeat driven madness, tailor made for your brain, your body and your own personal being. It’s the sound of Chicago, or Detroit, or any number of places in the Midwest region of the United States. But, not of our current era. It’s been brought to us from someplace on our timeline, but from the FAR distant future. Jasen went all the way out there to bring it back for us. We may never see the era it came from, but at least we can hear it. I’m good with that. I think you will be too. - Derek Plaslaiko, April 2025

Imagine meeting someone at some dark underground function in the Midwest region of the US, somewhere around the turn of the century, and then getting to know them over a 22-ish year period. Then imagine them making music that you respect in the highest regard, which eventually evolves into the most incredible, unique music you’ve ever heard in your life. And from there … the music keeps getting better and WAY crazier. And it starts coming at you more and more rapidly as this artist starts sinking deeper and deeper into the psychedelic nature of the music they’ve created. A sort of beast that consumes the personal being, while leaving only the artist. Then come the releases, and the beast, now more resembling a virus, starts to spread to those who didn’t know this artist personally. At this point, you’re starting to get excited for them! Overjoyed that others out there are finding this artist’s music and diving into everything that YOU also loved about it. You feel immensely proud and excited for what’s coming up for them, while feeling lucky to be around to witness this impending phenomenon. And then … just like that … it’s over. This is the art of my friend Andrew Smith-Rasmussen. Or, that’s how he was known here on earth. Andrew channeled his artistry through an interstellar being known as Jasen Loveland. Some kind of cosmonaut of psychedelia sent down to Earth from a galaxy unknown to scientists, astronomers and other celestial scholars out there. And from that alter ego spawned dozens of aliases, each representing a different style or sound that was wrestling around inside his mind. One of which is captured, bottled and presented here on this 50th release from The Bunker New York. This is the sound of The Lone Flanger. Right from the start, you feel like you’re being pulled into his world by a drumless intro that best lays out what kind of a ride you’re about to jump into. From there, it’s a trip through the cosmos while riding on Haley’s Comet. It’s dangerous, heart-pounding, hair raising, mind-blowing and crazy-making. Much of it is breakbeat driven madness, tailor made for your brain, your body and your own personal being. It’s the sound of Chicago, or Detroit, or any number of places in the Midwest region of the United States. But, not of our current era. It’s been brought to us from someplace on our timeline, but from the FAR distant future. Jasen went all the way out there to bring it back for us. We may never see the era it came from, but at least we can hear it. I’m good with that. I think you will be too. - Derek Plaslaiko, April 2025

Electricity snakes and crackles through the transformers, conduits, stepdowns, and laid lines of modern civilization. Channelled into the walls and drawn out through the outlet, its essential power arrives in a labyrinth of transistors, resistors, and soldered pathways, a nest of interlocked components. And through the subtle tweaking of potentiometers among finely tuned electronics this current is harnessed, leashed, convinced, cajoled into undeniably kinetic techno. The latest EP of tracks from Berlin’s Torvvo feels like sticking your tongue in the wall socket. Sizzling with all the lethal, awesome power of an elemental force, these five tracks capture the elusive, unrepeatable magic of program synthesis. The subtle dialing in of knobs and the serpentine patching of controlled voltage give the heady synth lines and brain-tickling noise sweeps a once-in-a-lifetime quality - they cannot be recalled, so thank goodness these sounds were being recorded. From the moment one of “Latch” - the EP’s opener and one of two tracks named for synthesizer functions - we ride a wave of voltage. It kicks off with a buzz that ricochets between the speakers before locking into a deep, undulating hi-hat groove, exactly the type of track that ASMR tingles you into your second wind of dancing. “Relay” follows” with an ever-morphing, insistent 16-beat bassline that calls to mind techno’s Italo ancestors. On the third track, Torvvo pulls the rug just a bit with a sultrier BPM and a stuttering kick-snare pattern that never quite repeats in a predictable pattern as the upper freqs of the hi-hats dissipate into steam, mushroom music. EP highlight “Shuddering on the Substrate” displays some true mastery of primetime-ready techno with a swift, driving drum pattern sprinting under a triplet synth pattern that filters deliciously in and out of the ether. By the time the closing track comes along it feels like something of a victory lap, another unrelenting modular tour de force - crispy, corporeal, & chugging. Torvvo (also known as Tom Holroyd, originally of Pittsburgh) is intimately familiar with electromancy, having served for some time now as one of the folks behind beautiful synth module makers Verbos Electronics (Mark Verbos, founder of the company, is also a Bunker artist). Holroyd’s work in demonstrating, repairing, and understanding the flow of voltage through electronic components rewards him a deep, intuitive knowledge - he works beyond manuals, patching by vibe, letting the beautiful serendipities bubble up between his computer running CV-optimized DAW Bitwig and the warmed-up modules cooing in his studio. Both god and ghosts run free in the machines - the tiniest adjustment of a parameter, a shift in the local weather, whether or not the operator is wearing any jewelry, the most minute factor can profoundly alter the lassoed voltage running through the precision synthesizer modules of a eurorack system. With “Substratum” Tom Holroyd proves undeniably that he is one of our finest ghost hunters, communing with the alternating current, cracking open the dance floor. Mastered by Tim Xavier at Manmade Mastering Artwork by Andrew Charles Edman Liner Notes by Ben Seretan

Electricity snakes and crackles through the transformers, conduits, stepdowns, and laid lines of modern civilization. Channelled into the walls and drawn out through the outlet, its essential power arrives in a labyrinth of transistors, resistors, and soldered pathways, a nest of interlocked components. And through the subtle tweaking of potentiometers among finely tuned electronics this current is harnessed, leashed, convinced, cajoled into undeniably kinetic techno. The latest EP of tracks from Berlin’s Torvvo feels like sticking your tongue in the wall socket. Sizzling with all the lethal, awesome power of an elemental force, these five tracks capture the elusive, unrepeatable magic of program synthesis. The subtle dialing in of knobs and the serpentine patching of controlled voltage give the heady synth lines and brain-tickling noise sweeps a once-in-a-lifetime quality - they cannot be recalled, so thank goodness these sounds were being recorded. From the moment one of “Latch” - the EP’s opener and one of two tracks named for synthesizer functions - we ride a wave of voltage. It kicks off with a buzz that ricochets between the speakers before locking into a deep, undulating hi-hat groove, exactly the type of track that ASMR tingles you into your second wind of dancing. “Relay” follows” with an ever-morphing, insistent 16-beat bassline that calls to mind techno’s Italo ancestors. On the third track, Torvvo pulls the rug just a bit with a sultrier BPM and a stuttering kick-snare pattern that never quite repeats in a predictable pattern as the upper freqs of the hi-hats dissipate into steam, mushroom music. EP highlight “Shuddering on the Substrate” displays some true mastery of primetime-ready techno with a swift, driving drum pattern sprinting under a triplet synth pattern that filters deliciously in and out of the ether. By the time the closing track comes along it feels like something of a victory lap, another unrelenting modular tour de force - crispy, corporeal, & chugging. Torvvo (also known as Tom Holroyd, originally of Pittsburgh) is intimately familiar with electromancy, having served for some time now as one of the folks behind beautiful synth module makers Verbos Electronics (Mark Verbos, founder of the company, is also a Bunker artist). Holroyd’s work in demonstrating, repairing, and understanding the flow of voltage through electronic components rewards him a deep, intuitive knowledge - he works beyond manuals, patching by vibe, letting the beautiful serendipities bubble up between his computer running CV-optimized DAW Bitwig and the warmed-up modules cooing in his studio. Both god and ghosts run free in the machines - the tiniest adjustment of a parameter, a shift in the local weather, whether or not the operator is wearing any jewelry, the most minute factor can profoundly alter the lassoed voltage running through the precision synthesizer modules of a eurorack system. With “Substratum” Tom Holroyd proves undeniably that he is one of our finest ghost hunters, communing with the alternating current, cracking open the dance floor. Mastered by Tim Xavier at Manmade Mastering Artwork by Andrew Charles Edman Liner Notes by Ben Seretan

Electricity snakes and crackles through the transformers, conduits, stepdowns, and laid lines of modern civilization. Channelled into the walls and drawn out through the outlet, its essential power arrives in a labyrinth of transistors, resistors, and soldered pathways, a nest of interlocked components. And through the subtle tweaking of potentiometers among finely tuned electronics this current is harnessed, leashed, convinced, cajoled into undeniably kinetic techno. The latest EP of tracks from Berlin’s Torvvo feels like sticking your tongue in the wall socket. Sizzling with all the lethal, awesome power of an elemental force, these five tracks capture the elusive, unrepeatable magic of program synthesis. The subtle dialing in of knobs and the serpentine patching of controlled voltage give the heady synth lines and brain-tickling noise sweeps a once-in-a-lifetime quality - they cannot be recalled, so thank goodness these sounds were being recorded. From the moment one of “Latch” - the EP’s opener and one of two tracks named for synthesizer functions - we ride a wave of voltage. It kicks off with a buzz that ricochets between the speakers before locking into a deep, undulating hi-hat groove, exactly the type of track that ASMR tingles you into your second wind of dancing. “Relay” follows” with an ever-morphing, insistent 16-beat bassline that calls to mind techno’s Italo ancestors. On the third track, Torvvo pulls the rug just a bit with a sultrier BPM and a stuttering kick-snare pattern that never quite repeats in a predictable pattern as the upper freqs of the hi-hats dissipate into steam, mushroom music. EP highlight “Shuddering on the Substrate” displays some true mastery of primetime-ready techno with a swift, driving drum pattern sprinting under a triplet synth pattern that filters deliciously in and out of the ether. By the time the closing track comes along it feels like something of a victory lap, another unrelenting modular tour de force - crispy, corporeal, & chugging. Torvvo (also known as Tom Holroyd, originally of Pittsburgh) is intimately familiar with electromancy, having served for some time now as one of the folks behind beautiful synth module makers Verbos Electronics (Mark Verbos, founder of the company, is also a Bunker artist). Holroyd’s work in demonstrating, repairing, and understanding the flow of voltage through electronic components rewards him a deep, intuitive knowledge - he works beyond manuals, patching by vibe, letting the beautiful serendipities bubble up between his computer running CV-optimized DAW Bitwig and the warmed-up modules cooing in his studio. Both god and ghosts run free in the machines - the tiniest adjustment of a parameter, a shift in the local weather, whether or not the operator is wearing any jewelry, the most minute factor can profoundly alter the lassoed voltage running through the precision synthesizer modules of a eurorack system. With “Substratum” Tom Holroyd proves undeniably that he is one of our finest ghost hunters, communing with the alternating current, cracking open the dance floor. Mastered by Tim Xavier at Manmade Mastering Artwork by Andrew Charles Edman Liner Notes by Ben Seretan

Electricity snakes and crackles through the transformers, conduits, stepdowns, and laid lines of modern civilization. Channelled into the walls and drawn out through the outlet, its essential power arrives in a labyrinth of transistors, resistors, and soldered pathways, a nest of interlocked components. And through the subtle tweaking of potentiometers among finely tuned electronics this current is harnessed, leashed, convinced, cajoled into undeniably kinetic techno. The latest EP of tracks from Berlin’s Torvvo feels like sticking your tongue in the wall socket. Sizzling with all the lethal, awesome power of an elemental force, these five tracks capture the elusive, unrepeatable magic of program synthesis. The subtle dialing in of knobs and the serpentine patching of controlled voltage give the heady synth lines and brain-tickling noise sweeps a once-in-a-lifetime quality - they cannot be recalled, so thank goodness these sounds were being recorded. From the moment one of “Latch” - the EP’s opener and one of two tracks named for synthesizer functions - we ride a wave of voltage. It kicks off with a buzz that ricochets between the speakers before locking into a deep, undulating hi-hat groove, exactly the type of track that ASMR tingles you into your second wind of dancing. “Relay” follows” with an ever-morphing, insistent 16-beat bassline that calls to mind techno’s Italo ancestors. On the third track, Torvvo pulls the rug just a bit with a sultrier BPM and a stuttering kick-snare pattern that never quite repeats in a predictable pattern as the upper freqs of the hi-hats dissipate into steam, mushroom music. EP highlight “Shuddering on the Substrate” displays some true mastery of primetime-ready techno with a swift, driving drum pattern sprinting under a triplet synth pattern that filters deliciously in and out of the ether. By the time the closing track comes along it feels like something of a victory lap, another unrelenting modular tour de force - crispy, corporeal, & chugging. Torvvo (also known as Tom Holroyd, originally of Pittsburgh) is intimately familiar with electromancy, having served for some time now as one of the folks behind beautiful synth module makers Verbos Electronics (Mark Verbos, founder of the company, is also a Bunker artist). Holroyd’s work in demonstrating, repairing, and understanding the flow of voltage through electronic components rewards him a deep, intuitive knowledge - he works beyond manuals, patching by vibe, letting the beautiful serendipities bubble up between his computer running CV-optimized DAW Bitwig and the warmed-up modules cooing in his studio. Both god and ghosts run free in the machines - the tiniest adjustment of a parameter, a shift in the local weather, whether or not the operator is wearing any jewelry, the most minute factor can profoundly alter the lassoed voltage running through the precision synthesizer modules of a eurorack system. With “Substratum” Tom Holroyd proves undeniably that he is one of our finest ghost hunters, communing with the alternating current, cracking open the dance floor. Mastered by Tim Xavier at Manmade Mastering Artwork by Andrew Charles Edman Liner Notes by Ben Seretan

Electricity snakes and crackles through the transformers, conduits, stepdowns, and laid lines of modern civilization. Channelled into the walls and drawn out through the outlet, its essential power arrives in a labyrinth of transistors, resistors, and soldered pathways, a nest of interlocked components. And through the subtle tweaking of potentiometers among finely tuned electronics this current is harnessed, leashed, convinced, cajoled into undeniably kinetic techno. The latest EP of tracks from Berlin’s Torvvo feels like sticking your tongue in the wall socket. Sizzling with all the lethal, awesome power of an elemental force, these five tracks capture the elusive, unrepeatable magic of program synthesis. The subtle dialing in of knobs and the serpentine patching of controlled voltage give the heady synth lines and brain-tickling noise sweeps a once-in-a-lifetime quality - they cannot be recalled, so thank goodness these sounds were being recorded. From the moment one of “Latch” - the EP’s opener and one of two tracks named for synthesizer functions - we ride a wave of voltage. It kicks off with a buzz that ricochets between the speakers before locking into a deep, undulating hi-hat groove, exactly the type of track that ASMR tingles you into your second wind of dancing. “Relay” follows” with an ever-morphing, insistent 16-beat bassline that calls to mind techno’s Italo ancestors. On the third track, Torvvo pulls the rug just a bit with a sultrier BPM and a stuttering kick-snare pattern that never quite repeats in a predictable pattern as the upper freqs of the hi-hats dissipate into steam, mushroom music. EP highlight “Shuddering on the Substrate” displays some true mastery of primetime-ready techno with a swift, driving drum pattern sprinting under a triplet synth pattern that filters deliciously in and out of the ether. By the time the closing track comes along it feels like something of a victory lap, another unrelenting modular tour de force - crispy, corporeal, & chugging. Torvvo (also known as Tom Holroyd, originally of Pittsburgh) is intimately familiar with electromancy, having served for some time now as one of the folks behind beautiful synth module makers Verbos Electronics (Mark Verbos, founder of the company, is also a Bunker artist). Holroyd’s work in demonstrating, repairing, and understanding the flow of voltage through electronic components rewards him a deep, intuitive knowledge - he works beyond manuals, patching by vibe, letting the beautiful serendipities bubble up between his computer running CV-optimized DAW Bitwig and the warmed-up modules cooing in his studio. Both god and ghosts run free in the machines - the tiniest adjustment of a parameter, a shift in the local weather, whether or not the operator is wearing any jewelry, the most minute factor can profoundly alter the lassoed voltage running through the precision synthesizer modules of a eurorack system. With “Substratum” Tom Holroyd proves undeniably that he is one of our finest ghost hunters, communing with the alternating current, cracking open the dance floor. Mastered by Tim Xavier at Manmade Mastering Artwork by Andrew Charles Edman Liner Notes by Ben Seretan