Donato Dozzy collaborates with Retina.it on a new dark and sleazy electro project, Men With Secrets. After Dozzy’s first project with Retina.it (aka Lino Monaco and Nicola Buono), under the moniker Le Officine Di Efesto on Spazio Disponibile, fresh ideas would fast unfold. “They quickly discovered a shared love of classic post-punk, wave, and synthpop, and not long after, Men With Secrets was born.” Drawing influence from the likes of Richard Bone, Cabaret Voltaire, The Human League, New Order, and even Dopplereffekt, the trio stamp out their own sound with ‘neither imitation nor rehash.’ Their debut thirteen track album, titled Psycho Romance and Other Spooky Ballads, will land on none other than The Bunker NY.
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. This is his third release on The Bunker NY.
From the very first track, it’s clear that Abby Echiverri’s debut, the “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.
Wata Igarashi with his second release on The Bunker New York. Igarashi is a lifelong musician and a professional sound designer by trade. Through decades of experience composing music he has developed a sophisticated and nuanced approach to production that allows him to evoke powerful moods and emotions. In recent years he has been applying his production skills to great effect, developing a distinctive brand of psychedelic techno.
The latest transmission from the world of Gunnar Haslam, Kalaatsakia wildly sprawls across the intersections of techno and more abstract sounds to take us on a wideranging 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.
It’s difficult to imagine The Bunker New York without Donato Dozzy. The roster of artists who have played the party over the past decade-plus reads like a proper Who’s Who of modern techno and house, but if there’s one artist in particular whose sound and vision has had an outsize impact on The Bunker, both as a party and as a record label, it would be Donato Dozzy.
The Bunker New York presents a surprise EP from veteran techno producer Mark Verbos – a man whose discography stretches back over 20 years – fits that remit. Flitting between acid-laden psychedelic intensity (“Just A Little Late”), high-octane loop jams (“In The Back Room”) and sweaty, all-out assaults on the senses (the metallic madness that is “Start Up Drive”), it portrays Verbos as a masterful producer of no-holds-barred dancefloor techno. Interestingly, he diverts a little from the script on the EP’s final moment, “Walk The Distance”, combining sparse dub techno rhythms and ghostly electronics.
The Bunker New York delivers a second collaborative Romans EP from Gunnar Haslam and acid obsessive Tin Man. They go in hard from the off, blending extended analogue bass, metronomic rhythms and wiggly acid lines on “Enoma”. There’s a classic bleep feel about the ghostly chords on “Coptos”, which seemingly float above a hard-as-nails techno groove. They seem to soften a little on “Delenium”, which pairs the uplifting, end-of-night ethos of progressive house with classic Detroit techno sounds.