The Bunker: A Red Bull Music Academy Special

The Bunker is the epitome of underground techno and cutting-edge electronica in New York. Now in its tenth year, co-founder Bryan Kasenic and his team bring some of the city’s best booking and a strict no-bullshit policy to Public Assembly in Brooklyn. We are proud to team up with them for a one-off Red Bull Music Academy special with dubbed out techno man of the moment Andy StottAtom TM alias Señor Coconut alias Uwe Schmidt, Patrick Pulsinger – a Vienna-raised New York veteran DJ from the Limelight era and recent producer for the likes of Hercules and Love Affair – and Academy participants from four countries.

Advance ticket sales have ended, but we have some tickets at the door, on a first come, first serve basis. Early arrival is recommended.

Bunker Set Times:

Front Room:

10:00 - Smax
12:00 - Kloke
01:00 - Atom™
02:00 - Patrick Pulsinger
04:00 - Mike Servito

Back Room:

10:00 - Bryan Kasenic
12:00 - Octo Octa
01:30 - Andy Stott
03:00 - Objekt

Photo Gallery

Andy Stott

Manchester-based producer Andy Stott has been unfurling his unique, dubby take on the techno continuum ever since his widely acclaimed debut album Merciless was released in 2006. Looking back, his skeletal releases on the Modern Love label have proven nearly prophetic, preceding what has evolved from the first wave of dubstep producers who realized their ambitions in techno and house stylings. His work with Demdike Stare’s Miles Whittaker, released under the name Andrea, took him closest to actual dubstep regions, with the clattering percussion hinting at fond memories of a hardcore past. His more recent work took his deconstructive approach even further, with crumbling samples melding into shadows of house and techno, the dancefloor more of a distant throb than a call for functionality. His 2012 LP Luxury Problems saw Stott speckle his texturally grim and fragmentary industrial-techno soundscape with vocals from his former piano teacher, Alison Skidmore.

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Uwe Schmidt, aka Atom™, got it right when he called his label Rather Interesting. Along the way, quite a few of the musical sideroads he chose to travel turned into congested highways, whether it was the Pop Artificielle he released under the LB moniker, the absurdly brilliant exotica of his Señor Coconut project, or even his early techno releases as Atom Heart (and dozens of other names). His collaborations with Burnt Friedman or the Yellow Magic Orchestra have made him even harder to pin down, but despite his restlessness his love for the essence of sound has always been at the core of his releases. Reducing samples until he finds the very atoms it takes to evoke a feeling, define a rhythm or, well, create music, he has built a massive body of work that, despite the seemingly academic approach, rarely lacks in soul or humor.

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Patrick Pulsinger

Viennese-bred producer Patrick Pulsinger has managed to leave his warped electronic signature on just about every style and tempo of dance music. Originally from East Germany, Pulsinger moved to Austria while still a child, and got into producing acid techno after he moved to New York to escape the Austrian military service. On returning home, he set up the Cheap Entertainment label and began releasing his music under various pseudonyms, on imprints like Disko B, Compost Black Label, and Mo’ Wax. Weaving together elements from across the spectrum of Detroit techno, Chicago house, funk, jazz, electro, soul, hip hop, and disco, Patrick has the ability to spin out a masterpiece. When he isn’t working on compositions for film scores, collaborations with orchestras and choirs, or as co-operator of Vienna’s Feedback Studio, he is also responsible for two remarkable albums in electronic music in recent years: Elektro Guzzi’s self-titled exploration into organic techno, and the second album by Andy Butler’s Hercules and Love Affair.

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Is it a little too perfect that this dude’s last name is Hertz? Maybe just perfect enough? TJ Hertz seems to love letting top-level sounds, moans, synth stabs, and snatches of lyrics swirl around in a classic rave–inspired broth. Objekt’s signature sounds disappear and reappear at irregular intervals, the frequency shortening and lengthening just enough to give you a sense that things are changing. An Oxford grad who writes signal-processing algorithms for spending-money, Hertz understands how to play with what we hear, and gets us to shift attention to exactly the time and space he wants: the early hours on a well-worn dancefloor.

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Octo Octa

Octo Octa has been releasing records for less than two years, but he’s already found a niche and a family. With the 100% Silk imprint, the Brooklyn-based artist is plugged into the Los Angeles Not Not Fun matrix—two sister labels creating one of the most talked-about networks in the US underground. And like the other artists on the 100% Silk roster, Octo Octa offers the indie flipside to the EDM craze currently sweeping the USA. His warm take on classic house music comes somewhat sideways—he doesn’t have a background in club culture—but that naivete is accompanied by guileless charm and humility, which shines through in the music.

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We all know what Robert Frost said about roads less traveled—hard to say what the poet would make of the bleep-techno-meets-bass that Kloke creates, but we do know what Dutch heavyweight DJ and producer Martyn made of it when he included it in his DJ sets. Like Martyn, Kloke grew up on drum’n’bass, became disenchanted after a bit, and is now producing whatever we’re calling the UK bass/techno hybrid this week. That it’s so moving may be owed to all the funk and soul 45s in Kloke’s record collection, but we wouldn’t want to speculate. Frost probably said something about that too.

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Messy, tribal, hazy, smeared, sometimes dusty–Pakistan’s fresh new talent Smax’s perception of his own music is pretty much spot on. Hailing from Karachi, one of the most populous cities in the world, Smax creates soundscapes that grant glimpses of a city in constant movement, acceleration and deceleration. Switching tempos between hip hop beats, UK house, and all things ’step, the 1990-born producer achieves something few established artists in his musical cosmos are capable of: adding that certain organic feel to digitally created worlds, proving the difference between decent electronica and something bigger than the sum of its parts.

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Bryan Kasenic

As the founder of the Bunker and Beyond Booking, and publisher of the influential Beyond NYC Events newsletter, Bryan Kasenic is pretty much THAT dude behind the scenes of a large part of New York City’s electronic music world. Under his Spinoza alias, Kasenic started out as techno and house DJ in the mid-’90s, before gravitating more toward the administrative shadows. The list of parties and weeklies Kasenic has been involved with is staggering, laying open the dedication with which he continually spreads the gospel of the 4/4 bass drum.

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Mike Servito

Detroit never forgot about Mike Servito. His upfront, dirty, deep and bitchy taste has 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 International’s Untitled (along with Derek Plaslaiko, Tadd Mullinix, Matthew Dear, and Ryan Elliott); from 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. Detroit’s loss has been Brooklyn’s gain, as he has found a proper home with a residency at the Bunker, and worldwide representation from Beyond Booking.

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