BEMF Pre-Party with INPUT | The Bunker presents Move D/ Reagenz (LIVE)/ Forma (LIVE)/ Bryan Kasenic with Pangaea/ Mike Servito in the Panther Room

Move D

If talent converted into record sales, David Moufang would be a very rich man. His records with partner Jonas Grossmann as Deep Space Network and his own solo releases as Move D are among the furthest outreaches of techno's push towards the stars. Moufang grew up in Heidelberg listening to his parents' collection of early Pink Floyd and Kraftwerk records but the most overwhelming influence on his childhood was outer space, the result of a trip to the cinema with his father to see 2001: A Space Odyssey. "I was space crazy as a child," Moufang told journalist Tony Marcus in 1995, "when the other kids were riding around in their little cars I'd be building my own spacecraft. I'd put in a small engine, put rubber on the wheels so it made some noise and stand there with a walkie-talkie and my headphones on. It was very techno..."

Moufang's grandmothers were both classical concert pianists. He can still remember favourite childhood moments, sitting under the piano as they played, surrounded and lost in sound. By the age of 12, he taken up drums (he eventually went on to study classical percussion) and took up the guitar a few years later, this time taking lessons from two separate jazz guitar teachers. He played guitar in a band called Rivers & Trains well into the '90s. Occasionally he even plied his trade as a DJ, spinning electro, funk and jazz. It wasn't until 1989 that he discovered techno when a friend of his, D-Man, invited him to a club he was running in the industrial suburb of Mannheim. When Moufang walked into the Milk! Club that night - like so many others before and after him - he discovered a scene that changed his life. Discovering Detroit, 808 State, Nexus 21 and the first stirrings of ambient techno, Moufang became a committed clubber. Through D-Man, he met Redagain P who converted Moufang's nickname "Mufti" into the more kinetic Move D.

Moufang's first records were made with Grossmann as Deep Space Network. Their first two albums, EARTH TO INFINITY (1992) and BIG ROOMS (1993) suggested a significant, unpredictable and innovative talent which was confirmed by the release of HOMEWORKS (1993), a Source Records compilation that included solo tracks such as "Pulsar" and "I've Been On Drugs" alongside collaborations with D-Man. Ranging from subtle, Detroit-inflected grooves to wired electronic jazz, Moufang's music seemed to operate on ambience, slow motion and subdued rhythm, a sound that was rooted, as Tony Marcus later pointed out, "in the jazzy, laid-back but still hip-tugging tradition of Larry Heard, Carl Craig's "Microlovr" or "The Wonders Of Wishing" and New York's Burrell Brothers... listening to [Moufang's records] is like a sweet and lazy adventure into sound, a space where time and stress are suspended."
REAGENZ (1994), a collaboration with SpaceTime Continuum's Jonah Sharp, was an astonishing fusion of beautiful, experimental electronics that reached out to a point that even Detroit's most visionary producers hadn't yet achieved. Recorded between Heidelberg and San Francisco, it sounded like pianist Bill Evans might have if he'd grown up surrounded by Star Trek instead of modal jazz.

Moufang's debut album, KUNSTSTOFF (1995), was equally remarkable. Tracks such as "Soap Bubbles" and "In/Out" oscillated between soft, dreamlike textures and the spiked electronics that Detroit was beginning to explore. The glittering production surfaces were a legacy of Moufang's days as a student at the School of Audio Engineering, but the music they encompassed was equally compelling. It was an album full of contrasts - between the jagged drugfloor grooves of, say, "Nimm 2" and the gentle, synthetic lullaby of "Beyond The Machine" or between the pristine sounds Moufang conjured with and the haloes of analogue noise which surrounded others. Amazingly pretty and wildly innovative, KUNSTSTOFF remains one of the most accomplished techno albums to emerge from Europe so far.

The collaborative ventures that followed - including EXPLORING THE PSYCHEDELIC LANDSCAPE (1996) and A DAY IN THE LIVE (1997) with Pete Namlook - preceded an experimental single for Sheffield's Warp label. Moufang had been a big fan of the label's "bleep techno" output in the early '90s and "Cymbelin" was, in some ways, a homage to that sound, twisting beats and synths into a bass heavy groove. But the producer's ability to soften almost any structure with aching prettiness transformed the record into a unique fusion.

Another unique fusion was suggested by the release of CONJOINT (1997). A collaboration between Moufang, jazz veteran Karl Berger, Jamie Hodge (of Born Under A Rhyming Planet) and Gunter "Ruit" Kraus, it was Moufang's most overtly jazzed outing so far, but provided spectacular evidence of his growing abilities as a producer and composer. Currently working on a number of new projects - including a new Deep Space Network album and a second Conjoint album - Moufang continues to explore the boundaries of electronic music.

Brooklyn cosmic synthesists FORMA merge the propulsion of Krautrock with the hypnotic drones of minimalism to create cyclical, mutative soundscapes above a torrent of live drum machine programming. Working within the technical parameters of late 70's and early 80's analog synthesis, FORMA offer reverence and a contemporary response to the futuristic visions conjured at the dawn of modern electronic music.

Bryan Kasenic

Bryan Kasenic (aka Spinoza) is known in the electronic music world for founding The Bunker, playing adventurous DJ sets, launching an influential newsletter, and starting Beyond Booking.

Although Bryan's peaktime sets consist mostly of techno and house, he loves all music, and has a past that cannot be pinned down to just one genre. He started DJing in 1996, playing psychedelic soundscapes in chillout rooms and on college radio shows (Carnegie Mellon, Rutgers, and New York University). Slowly but surely, he began to play more dancefloor friendly sets that incorporated his interest in the deeper spaces you can go to in the chillout room.

Bryan is also known for his many other roles in the electronic music scene. As a free service to the community, he began publishing Beyond NYC Events, a weekly email newsletter, in 1997. The newsletter became an influential way to promote interesting under-the-radar electronic music events to a large fan base in New York. In 2001, Kasenic oversaw the booking of all of the promoters at Openair, a DJ lounge in the East Village that quickly gained recognition for its forward-thinking music programming. At Openair, one of the promoters he worked with was Magda, who brought in techno luminaries like Zip, Daniel Bell, and John Tejada to play at her first residency in New York City. From 2000 to 2005, Spinoza helped DJ Olive and Jameson run The Agriculture, a record label dedicated to bringing homegrown laptop dub to the masses.

Bryan has thrown a ton of parties and weeklies in New York City, including a 5-year stint at Halcyon with the Undercity weekly. He has put most of his energy into The Bunker since January 2003, eventually turning it into the premier techno weekly in North America, which morphed into a bigger monthly party in 2009. In 2005, he started doing all the booking for the Wolf + Lamb Marcy Hotel in Williamsburg, helping to almost instantly transform it into the hottest after-hours spot New York City had seen in many years. Kasenic went on to curate and help throw many larger warehouse and loft parties with Wolf + Lamb. In 2008, he founded the House-n-Home loft party series with Anthony Parasole, which hosted many legendary loft parties at 12-turn-13 over the course of a year.

Through the Beyond Booking Agency, Kasenic has helped build the electronic music scene nationally by booking his friends and allies in other North American cities. As he has become busier with other projects, he reduced the Beyond roster to just The Bunker residents (Derek Plaslaiko, Eric Cloutier, Mike Servito, and himself) and a few friends, but continues to assist guest artists coming through The Bunker to connect with the right people in other cities.

Bryan produced three events for the inaugural Unsound Festival New York in February 2010, and followed with more in 2011 and 2012. Unsound, Poland's most forward-thinking music festival, brought a bold and uniquely modern program of music to Kraków for seven years before producing a New York edition. Every Unsound Festival edition of The Bunker was highly successful, presenting a cross section of some of the most interesting (and sadly most under represented) electronic music artists from Eastern Europe and the US.

While Kasenic has played lots of big clubs like Panorama Bar, Twilo, Tunnel, and Vinyl/Arc, he honestly prefers small intimate rooms. He has DJed at big parties in New York for PS1 Warm Up, Resolute, Rhythmism, Madagascar Institute, Chengwin, Soundlab, Multipolyomni (at the Kitchen), Rubulad, Complacent, theDanger, the Lunatarium, and NYC Burningman Decompression. He's also appeared in Berlin (Panorama Bar, Watergate, Tresor), Krakow & Warsaw (Unsound Festival), Seattle (Decibel Festival), Boulder (Communikey Festival), Chicago (Smart Bar, Sonotheque), Detroit (No Way Back, Oslo), Philadelphia (Rizumu, Inciting), Boston, Denver, Pittsburgh, and Montreal.

2013 is looking bright for Bryan. In addition to their New York events, The Bunker will continue a residency collaboration with GAFFTA at Monarch in San Francisco, and launch a new residency at Smart Bar in Chicago. After a sucessful first gig at Panorama Bar in September 2012 alongside The Bunker residents Derek Plaslaiko and Eric Cloutier, Bryan was asked back in February and is building a European tour around that date.

producer / deejay /

Mike Servito

Mike Servito is a DJ's DJ — a lifelong music fanatic with a truly
unique ability to move a dance floor. Fearless in his seamless
transitions from one style to another, Servito has an unpredictability
and a deep trust in his music knowledge that has garnered him a cult
following over the years.

Although Servito is a New York transplant, his DJ style is
unmistakably Detroit. Inspired by Detroit radio of the '80s and the
city's local DJs in the '90s, Servito came of age in a flourishing
electronic music scene, making his debut in 1995 and immediately
gaining attention and the respect of his peers and local

techno heroes. After a brief hiatus, Servito was lured back through
the vigorous encouragement of his close friend Magda. He returned to
the DJ realm in 2002, redefining himself and finding inspiration in
the new generation of electronic-music producers and DJs.

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