thebunkerny

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