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.

The Bunker Podcast 235: Erik Luebs

Some DJs treat genre boundaries like walls; others see them as doors. Craig Gonzalez belongs firmly to the latter camp. A staple of Detroit’s underground and a resident DJ at Paxahau’s Third Thursday monthly, he has long been drawn to what happens when techno’s linear propulsion collides with the restless syncopation of drum & bass. That liminal space, the “grey area” between the two, has become one of the most fertile playgrounds in electronic music over the past decade, and Gonzalez shows why. In this mix, recorded as the opening set on the Movement main stage, he handles tempo as a fluid variable, shifting gears without friction and letting polyrhythms function as the connective tissue. It’s the kind of approach that resists the obvious peak and instead builds a topology of groove, a groove that bends but doesn’t break, carrying dancers across time signatures almost without them noticing. 

And while opening a stage that would later host Deepchord, Sama’ Abdulhadi, Octave One, and Jeff Mills could be seen as a daunting warm-up role, Gonzalez treats it less as preparation and more as architecture. Across ninety minutes, he layers patterns with patience, calibrating intensity so that tension rises and releases without tipping into spectacle. The set moves like a conversation that shifts from whispers to declarations, never overstated but always persuasive. It’s a reminder that flow is not just sequencing but narrative logic, and that true mastery lies not in domination of a dancefloor but in shaping the conditions for everything that comes after.

@craig-gonzalez
http://instagram.com/cgonz313

Write up by @gilleswasserman

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Delayed with... Craig Gonzalez (@ Movement, Detroit, May 24th, 2025)

The third week of August 2025.
Oslated Special Mix 079 - Maharam

Final Passage
New York
US

Maharam is an American DJ and co-organizer of Final Passage, a Brooklyn-based event series emphasizing leftfield curation across both club and deep listening environments. Maharam's affinity for deeper sound is rooted in the melancholic landscapes of his Pacific Northwest upbringing, as well as his background as a guitarist and jazz vocalist. After moving to New York seven years ago, Brooklyn's rich DIY scene has been central to his life, acting as a constant source of inspiration and connection. In his mix for Oslated, Maharam shares a carefully crafted meditation through emotive ambient, dub techno, and textural electronics.

https://soundcloud.com/maharam-sound
https://www.instagram.com/___maharam
https://www.instagram.com/finalpassage

- Artwork by Clément Davout

Oslated.
http://www.oslated.com

Oslated Special Mix

Oslated Special Mix 079

Oslated Special Mix 079 - Maharam

When OK EG enters Varden it’s 8:30PM on Sunday. It’s been a slow and steady build during the day, much slower than the day before, people have been given time to rest properly from a late night on Saturday. This is the journey. The ebb and flow of the forest. It’s their job to get the crowd going for the last couple of interval sprints. They are well rested and ready.

OK EG’s expansive sound is deep and diverse. Their compositions display a range that shifts between delicate, textural soundscapes, and spiralling, mesmerizing, mind-trip techno.

They first went to Monument festival in 2024, taking a break from a residency at EMS in Stockholm to spend a weekend in the forest. They brought a field recorder with them and spent time on the riverbank recording the sound of stones and water.

And listen to this level of dedication; while preparing for their live set in 2025, they used those recordings to write a closing track called Monument Stone. This is what they said about it. ”In the moment of performing it at the festival, we felt that everything came together. The crowd, the music and the site connected and it happened just as we’d imagined it.”

During their set day turns to dusk. We transition together, ready for the night - the sound, nature, forest and lights. Hand in hand. 

Follow
https://soundcloud.com/okegmusic
https://www.instagram.com/okegmusic/

Monument Festival 2025 : OK EG (live)

With the summer festival season drifting into memory, it feels like the right moment to linger on one of the most thoughtfully shaped events in recent years. The Mostra Festival unfolded over the Easter weekend across two Barcelona locations, and what set it apart wasn’t just the programming, but the curation - a balance of trust, patience, and precision. The first two days leaned toward the ambient and the experimental, tipping into rhythm as the nights wore on. Yet the real magic of that opening stretch lay in the beatless hours. Friday in particular offered a moment that still reverberates among Mostra regulars and beyond: Robert Henke’s performance of Dust. If there is any place in the world designed for such a work, Mostra provided the perfect frame. For one afternoon, Henke held the crowd in complete attention and reverence, something essential for any artist, but especially for one whose work is as delicate, shifting, and expansive as Dust.

For many of us, Robert Henke, Monolake to longtime listeners, has been a constant presence in the background of our musical lives. His records shaped taste, his performances redefined how electronic music could be experienced live, and his role as co-creator of Ableton changed the very tools we use to make and share sound. Few artists can claim such a dual legacy: architect of both the music and the machinery. Whether in moments of joy or frustration, whether in the studio or on the dancefloor, it’s impossible to imagine modern electronic music without his fingerprints on it. Henke embodies the link between technological innovation and artistic expression, and his influence runs deeper than most of us can trace.

Dust is perhaps the clearest expression of that link. Powered by a custom granular synthesis engine, it reduces sound to particles, field recordings, analog tones, machine hiss, bells, and waves, then disperses them into clouds that evolve in real time. The result is less like a composition and more like a living organism: fragile, unpredictable, always becoming something new. At Mostra, this unfolding took shape in late afternoon, after Patrick Russell’s set had sharpened the air with its own restraint. Henke stepped in with a 360-degree surround system that transformed the floor of Fabra i Coats into a resonant body. The sound was cosmic and liquid, grainy and immense, stretching outward until it seemed to erase the horizon. Every surface in the space shimmered with detail, as if the air itself had been tuned. What made it remarkable was how fragile it all felt. Nothing was forced; every movement seemed to arise on its own, like dust caught in late-afternoon sunlight. Yet the immersion was total. People surrendered, leaning into the space as if trying to hold onto something that could never be held. For that hour, Mostra wasn’t a festival anymore. It was a room of people floating together in a world made entirely of sound, knowing it would never happen in quite the same way again.

https://soundcloud.com/monolake
https://www.instagram.com/studio.robert.henke/

www.mostra.barcelona
www.instagram.com/mostrabcn/
@mostrabcn

Write up by @gilleswasserman

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Read

Delayed x Mostra: Robert Henke presents Dust

Once a year back to the core with a like-minded group. Enjoy the recording from a special gathering last June, somewhere in the woods of Spain. Big hug from Bas de Noche. 

@espacio-perpendicular 2025 -  Saturday 23:00 - 01:00

Bas Dobbelaer - Perpendicular 2025

LF58 is the collaborative consciousness of techno maestro Neel and sonic explorer Filippo Scorcucchi. Initially beginning the project with a blissful release on Auxiliary, the duo has since gone on to release three legendary albums on Astral Industries. The modular synth masters are revered for their ability to sculpt sound into expansive, architectural forms, building entire worlds from celestial drones and intricate textures.

This mix is music for the deep cosmos of the mind; an ambient transmission designed to dissolve time and space. Patient and deep, the set serves as a soundtrack for drifting through the quiet solitude of space, floating in a sonic vessel built by two masters of atmosphere.

Follow:

https://www.instagram.com/lf58music/
https://soundcloud.com/user-441961898
https://www.facebook.com/LF58music

https://www.instagram.com/filipposcorcucchi/

https://soundcloud.com/neel
https://www.facebook.com/neeldj
https://www.instagram.com/neelrome/

Photo - Jason Leung



Monument Waves 006 : LF58

TSO Berlin 2025 • Marco Shuttle

Release Date: 26/09/2025

Genre: Drum and Bass - Dark / Minimal / Rollers

BPM: 173

Produced by Captain Jack

Happy to hear feedback! ❤️

📢 Contact:
Email: captainjackdnb@gmail.com (for collaborations, or inquiries)

Captain Jack - BLOOD MOON [OFFICIAL RELEASE]

Dark flows .  !🔥🔥🔥🔥🔥🔥🔥🔥

doog

Delayed is a source of deep, minimal, and micro house, techno, ambient and beyond. Follow us for new mixes, fresh releases, and exclusive interviews with distinguished and rising artists.

Founded in Brooklyn and run by a team of music producers, DJs, and perpetual music addicts.