Bunker Sessions
Industry selection - Peter Ablinger

This selection forms part of a sonic chain of communication dating back to March last year.

Angela McCluskey was selected by Alejandro for our March playlist

…I wrote to Angela asking for a track suggestion and she introduced us all to ‘Her Name is Calla' who we dutifully aired for our April playlist

…so I wrote to Adam Weikert from ‘Her Name is Calla' and he introduced us to 'Volcano!' who we featured in July

Next I wrote to drummer, Sam Scranton from ‘Volcano!’ and he took us down an avant garde, classical trail for our September playlist, introducing us to Austrian composer, Peter Ablinger.


Still with me??? 

Up until 1994, Ablinger focused on chamber music, after which he was also involved in electro-acoustics and sound installation. Since 1980 he is working on plant complex “White / Whitish,” which deals with various aspects of the white noise, and proved to be very use of different media: instruments, installations, objects, electro-acoustic pieces, note plays, prose, plays, music without sound ; total of 36 parts. In 2005 he was said to have put on a “unique opera project” in Graz. Since 1993 he has been a visiting professor at several universities in Graz, Darmstadt, Hamburg and Prague. 


In May 2012 Ablinger was appointed as a new member of the Academy of Fine Arts in Berlin, he accepted his election. An active membership requires that artists participate actively in the tasks of the Academy, so it will show in the future continued presence in the academy.

Peter’s selection:

Konzert Minimal performs Antoine Beuger’s ‘Ashbery Tunings for 10’ [Unreleased] 2011

“Dear Rob

thanks for asking

here is a suggestion for a true listening - or existential - experience:

Antoine Beuger

Ashbery Tunings


i suggest the video rather than just the sound because this music is not only acoustical (- although, it’s not visual also…)

even better: get a score from - e.g. -

Antoine Beuger

l’ horizon unanime

and perform it togehter with your group

(it’s not neccessary to be a musician for this!)



Peter Ablinger - Altar - 3. Teil: Drei Minuten für Orchester can be heard on Bunker Sessions episode #22.

Konzert Minimal performs Antoine Beuger’s ‘Ashbery Tunings for 10’ can be heard on Bunker Sessions episode #27.

Industry selection - Florian Joeckel (ANBB)

‘ANBB - I wish I was a mole in the ground’ was selected by Emma in our September playlist.

ANBB is a project between Alva Noto (Carsten Nicolai) and Blixa Bargeld, the winger, guitarist and composer of Einstürzende Neubauten. 


Together they developed a musical concept based on the combination of improvisation and abstraction. The impulsive live performance of Blixa Bargeld and the elaborated beat structures and sound landscapes of Alva Noto merge to a surprising and unexpected result. Working on their own experimental material that gains its strength from the spontaneity of the live performance of Bargeld’s voice as well as rethinking traditional songs in their own special manner, they deliver an outstanding and inspiring musical blend for their audience.

The collaboration first staged in September 2007 when they united for a special appearance in San Francisco to perform at Recombinant Media Labs studios. Since then they have recorded several tracks, five of which will be released on a preliminary EP on Raster-Noton (r-n 120) in June 2010. A full-length album with 10 tracks (r-n 121) will be released some weeks later. The release will be followed by a live tour at various festivals and concert halls in Europe in June/September 2010.


On a slightly different note, a few of us caught Teho Tearso & Blixa Bargeld’s recent offering at the Union Chapel (fantastic music venue if you’ve not been). ‘Defenestrazioni' is worth a listen; meaning the action of throwing someone or something from a window, even with the intent of suicide or murder’. So there you have it!

ANBB chose one of their own offerings:

ANBB - Bernsteinzimmer [Raster-Norton] 2010

ANBB - I wish I was a mole in the ground can be heard on Bunker Sessions episode #21.

ANBB - Bernsteinzimmer can be heard on Bunker Sessions episode #27.

Industry selection - Femi Kuti

Femi Kuti - Beng Beng Beng (Da Lata remix) was selected by Alan Peres late last year.

Femi Kuti - Beng beng beng was selected by myself (Robder) in our June 2013 playlist.


AFRICAN LEGEND IN THE HOUSE! I can’t believe it either.

Femi was born in London to Fela and Remi Kuti and grew up in the former Nigerian capital, Lagos. His mother soon left his father, taking Femi to live with her. In 1977, however, Femi chose to move in with his father. Femi eventually became a member of his father’s band.

Like his father, Femi has shown a strong commitment to social and political causes throughout his career.

He created his own band Positive Force in the late 1980s with Dele Sosimi (Gbedu Ressurection), former key-board player of Fela Anikulapo Kuti. His international career began in 1988 when he was invited by the French Cultural Centre in Lagos and Christian Mousset to perform at the Festival d’Angoulême (France), the New Morning Club in Paris and the Moers Festival in Germany.

Femi has been nominated for a Grammy award four times in the world music category in 2003, 2010, 2012 and 2013 but has never won.


I (Robder) had the privilege of seeing positive force play (twice) at the Byron Bay Blues and Roots festival back in 2004 - MAN that guy can sweat!

Femi Kuti recommends:

Dizzie Gillespie and Water Fuller - Things to come [New World Records] 1976

“Hello Rob, Femi is always very Happy to do that Kind of stuff, promoting classics and music all around. 
There was no particular reason, it was his first and no hesitation choice. 

Femi Kuti - Beng Beng Beng (Da Lata remix) can be heard on Bunker Sessions episode #2.

Femi Kuti - Beng beng beng can be heard on Bunker Sessions episode #16.

Dizzie Gillespie and Water Fuller - Things to come can be heard on Bunker Sessions episode #27.

Industry selection - Zara McFarlane

‘Until tomorrow (Orgis Debris remix)’ was selected by Auntie Maureen in our March playlist.

‘Blossom Tree’ was selected by Robder (me!) in our July playlist.

Zara McFarlane issued her self-produced EP, ‘Until Tomorrow’ in 2010. This later evolved into an album and was released on Gilles Peterson’s label ‘Brownsword Records’. She recently released the follow up, ‘If you knew her' which is equally delicious.

A few of us Bunker stragglers caught her XOYO gig earlier this year. We loved it so much we’re counting down the hours for more of the same at SPW50 this coming May. :)


Zara McFarlane at XOYO.

From her bio:

“The arrangements for Until Tomorrow have a liberal dose of subtle, stealthy swing, yet as steeped as Zara McFarlane is in the jazz tradition, she has brought an eminently soul undercurrent to what she does, and it is entirely possible that she could appeal to audiences weaned as much on Jill Scott and Erykah Badu as Cassandra Wilson and Dianne Reeves. Blessed with a fine voice and a strength of character that has led her towards thought-provoking, if not challenging lyrics, Zara McFarlane has with Until Tomorrow taken a giant step down the road to what is surely a long, illustrious career.”

Zara’s selection?

The Creole Choir of Cuba - Tande [Real World] 2010

Herbie Hancock - The peacocks [Columbia] 1986

“Dear Rob!

It is Zara McFarlane here. I hope everything is well in your world. Thank you for getting in touch. Sorry for the delay in getting back to you.

So I have 2 songs for you.

1. Tande- Creole Choir Of Cuba (Tande-la) or anything from this album. I was lucky enough to stumble upon this choir at Stratford Theatre Royal. I was blown away by their arrangements and energy on stage. Every singer is charismatic and emotional on stage and the music to me is truly uplifting for the spirit.

2. The Peacocks- Herbie Hancock. This song/version is one of the most beautiful melodies I have ever heard and moves me every time I hear it. I can listen to this on repeat for hours.

I hope that is useful. Love ZX”

Zara McFarlane - Until tomorrow (Orgis Debris remix) can be heard on Bunker Sessions episode #11.

Zara McFarlane - Blossom Tree can be heard on Bunker Sessions episode #18.

The Creole Choir of Cuba - Tande can be heard on Bunker Sessions episode #27.

Herbie Hancock - The peacocks can be heard on Bunker Sessions episode #27.

Industry selection - Oumou Sangaré

‘Boddhi Satva featuring Oumou Sangaré - Ngnari Konon’ was selected by Robder (meee!) in our March playlist. 


Anyone who hasn’t had the pleasure of listening to ‘Ngnari Konon’, featuring the sweet vocals of Oumou Sangaré, I would urge you to do so.

Oumou is a grammy award winning Malian Wassoulou musician sometimes referred to as ‘The songbird of Wassoulou’. Wassoulou is a historic region south of the Niger River, and the music there is descended from traditional hunting songs, and is accompanied by a calabash.

At the age of 21, Oumou was already a star, and since 1990, she has performed at some of the most important venues in the world including the Melbourne Opera, Roskilde Festival, Festival d’Essaouira and Opera de la monnaie of Brussels.

Oumou Sangaré is considered an ambassador of Wassoulou; her music has been inspired by the music and traditional dances of the region. She is an advocate for women’s rights, opposing child marriage and polygamy. Her music contains various themes around social criticism, especially concerning women’s low status in society. She was also a goodwill ambassador for the United Nations Food and Agriculture Organisation.

Sangaré contributed vocals to “Imagine” for the 2010 Herbie Hancock album ‘The Imagine Project’. I went to see this performed live on the Southbank stage. I’m not sure whether Oumou performed on the night as she wasn’t on my radar back then!


Oumou’s selection:

Fatoumata Diawara - Makoun Oumou [World Circuit] 2011

We received the following note from Seb Mann at World Circuit Records:

“Oumou would recommend anything by Fatoumata Diawara. Fatou used to be Oumou’s backing singer.

Perhaps her track Makoun Oumou would be appropriate as it is about her!”

Boddhi Satva featuring Oumou Sangaré - Ngnari Konon can be heard on Bunker Sessions episode #11.

Fatoumata Diawara - Makoun Oumou can be heard on Bunker Sessions episode #27.

Industry selection - Pedro Ayres Magalhães (Madredeus)

Madredeus - Vem (Além de toda a solidão) was selected by Damien in our January playlist.

Madredeus is a Portuguese musical ensemble. Their music combines traditional Portuguese music with influences of modern folk music. Portuguese music is often associated with the sub genre, ‘Fado’.

Fado is a traditional musical style dating back to Medieval times. It is characterised by mournful tunes and lyrics, often about the sea or the life of the poor, and infused with a characteristic sentiment of resignation, fatefulness and melancholia (loosely captured by the word “saudade”, or longing).

Madredeus boldly selected one of their own tracks (hey it’s allowed!):

Madredeus - O mar [EMI] 1994

“Hi Rob, I just received from the mentor of Madredeus, Pedro Ayres de Magalhães, the suggestion for your Bunker Sessions. It’s the song ‘O Mar’ from the album ‘O Espírito da Paz’.

Quoting Pedro: “It’s a major achievement in the context of our efforts to make live music and recordings with portable instruments.” O Mar means ‘The Sea’, in Portuguese.

All the best. Barbara.”

Madredeus - Vem (Além de toda a solidão) can be heard on Bunker Sessions episode #7.

Madredeus - O mar can be heard on Bunker Sessions episode #27.

Industry Selection - John S. Hall (King Missile)

'King Missile - Gay/not gay' was selected by myself (Robder) in our September 2013 playlist.

It was also voted track of the month by our faithful regulars.

King Missile is an American avant-garde band that has been led in various disparate incarnations by poet/singer John S. Hall since 1986.


I’d describe John S. Hall as a sexual revolutionary and I fell in love with his work after hearing ‘A suggested response to the coming crisis' on Black Rock City's radio station in the mass exodus convoy from Burning Man 2013. 

In 1985, writer John S. Hall began presenting his work at open mike poetry readings. After three shows, Hall became a “featured” poet at the Backfence, a performance venue in Manhattan’sGreenwich Village. 

In 1986, feeling that “20 minutes of me reading poetry would be totallyboring,” Hall asked his guitarist friend Dogbowl to augment his performances with original music. Dogbowl agreed, and with the addition of bassist Alex DeLaszlo, drummer R.B. Korbet, and xylophonist George O’Malley, King Missile (Dog Fly Religion) was born.

In John’s words:

"I think these are some of the common themes: a) life is hard, brutal, capricious and unfair, b) sometimes there is a benefit to seeing it clearly, and acknowledging it truthfully…, and c) other times it is best to find something to laugh about, lest despair crush one completely. I find a lot of humor in shocking or so-called taboo things: castration, excrement, violence (usually self-inflicted or inflicted on the narrator, ‘[Martin] Scorsese’ being an exception), sex and sexual perversions… etc.”

Thanks for lending us your ears John! Love from all of us at Bunker Sessions…

Elliott Carter - Sound field [Bridge Records Inc] 2010


In deciding what to choose, I looked at what other people chose. The first name that popped out at me was that of Penny Rimbaud. I met Penny several years ago when we were on a spoken word tour together. Penny chose a work by Benjamin Britten, perhaps the greatest English composer of the 20th Century. In fact, he chose one of Britten’s best works. So I thought I’d choose a work by one of the best American composers of the 20th century: Elliot Carter. The piece I’m choosing is not Carter’s best work, but I’ve chosen “Sound Fields” for its brevity (it’s under 7 minutes) and its austere, haunting beauty. The stings-only orchestra uses no vibrato, and the texture and tone recall another 20th century master, Morton Feldman (although maybe not as much as Carter’s “Wind Rose”, composed a year later-that really sounds like Feldman to me).

It may be useful to know that Carter’s inspiration for “Sound Fields” was what Carter referred to as “Helen Frankenthaler’s fascinating Color Field pictures.” I might also note that this is actually a 21st century work, composed when Carter was 99. He died in 2012.

To me, “Sound Fields” evokes American abstract expressionist painting only somewhat. What really strikes me is how beautiful and ominous it sounds. This is probably because I am sure I have heard similar music in horror films (perhaps Bernard Herrmann?). So one thing the listener might do is to try not to imagine a slow, knife- wielding murder approaching a sleeping victim, and rather to imagine large canvases dominated by a single color, perhaps something like this:

Or, perhaps more obviously, most of the work of Rothko. Anyway, I hope at least some of you enjoy the work. Here are links to two different versions I found on you tube:

http://www.youtube.com/watch?v=CyrAVD9S2TI (I believe this recording is the one offered for , here under a pound):


And here is a live recording:



King Missile - Gay/not gay can be heard on Bunker Sessions episode #21.

Elliott Carter - Sound field can be heard on Bunker Sessions episode #27.

Industry selection - Hannah Holland

Hannah Holland made her mark on East London with her residency at Trailer Trash on Kingsland Road circa 2004. Packed full of electrotrashbags, this was a place for dancers with a love of bleeps and bass. Those who went after the smoking ban will remember the scenes of devastation in that infamous alleyway. ;)))

I also have fond memories of her antics with Mama Shamone at the early Bastard Batty Bass parties at The Old Blue Last.


Her star has been on the rise ever since, rocking dancefloors all over the world for hugely respected parties like Bugged Out, The Warehouse Project, Fabric, Ibiza’s Amnesia, Glastonbury, The Arches in Glasgow, Serbia’s notorious Exit Festival as well as Japan and Australia. 

Her distinct productions, which fuse many styles, into hybrid of house, techno and bass has led to over 30 releases including remixes for The Knife, DJ Hell, O Children and Planning To Rock as well as original works such as underground hits ‘Shake It Up ft. Mama' and 'Paris’ acid Ball’.

Hannah is equally at home stealing the show in big rooms and festivals as she is capturing hearts in grimy basements and warehouse raves in the small hours; her groundbreaking DJ sets showcase a breathtaking array of musical offerings…woven with HH magic.

Her selection?

Savages - City’s full [Pop Noire] 2012

Some faves from Bastard Batty Bass can be heard on Bunker Sessions episode #20.

Savages - City’s full can be heard on Bunker Sessions episode #27.

Industry selection - Johan Lange (Agent Side Grinder)

‘Agent Side Grinder - Stranger stranger’ was selected by Alejandro for our September playlist.


Sweden’s rocking electro behemoth Agent Side Grinder burst onto the scene in 2008 with their eponymous debut album and since then have not looked back. The music is an uncompromising, never-before-heard blend of industrial, post-punk, old style EBM and electro topped with the apocalyptic crooning of singer Kristoffer Grip. British music fanzine 20JazzFunkGreats called them a “sensation of uncomfortable pleasure” and genre forefathers Suicide invited them as a support act.

In recent years, Agent Side Grinder has moved towards a bigger and more textured sound. Their latest record Hardware sees the band once again stepping into their musical time-machine, while having a rendezvous with old masters such as Kraftwerk, Einsturzende Neubaten and Depeche Mode. The result is a reckless, rhythmic journey into a bleak future with zero compromise.

"One of the few bands, which is actually in a position to deal with the legacy of Joy Division." (Vice) 

You can really hear Johan’s influences for the Agent Side Grinder sound coming through in his personal selection:

Thomas Leer - Private plane [Oblique Records] 1978

“Wow… so we actually got fans in the UK?? Didn’t know that Thank you so much for including ASG in your wonderful podcast, I listened to it yesterday, some really cool stuff there!!

This is ASG:s contribution, which I think would fit your show.

All the best,
Johan Lange/ASG”

Agent Side Grinder - Stranger stranger can be heard on Bunker Sessions episode #21.

Thomas Leer - Private plane can be heard on Bunker Sessions episode #27.

Industry selection - Darren Emerson (Underworld)

‘Underworld - Rez’ was selected by Kathleen in our June 2013 playlist.

See her reasons for choosing here.

Emerson began mixing hip-hop at the age of 14, and began to explore house music, quickly acquiring a reputation as one of the top British DJs. Demand for his services saw him playing at top clubs such as The Milk Bar, Limelight, and Venus earning several accolades such as “DJ of the Month” in The Face and ID.

In 1990, Martin Prudence, brother-in-law of Rick Smith, introduced him and Karl Hyde invited him to become the third member of techno band Underworld. 1993’s ‘Dubnobasswithmyheadman' was their commercial breakthrough onto the then burgeoning British electronica scene. While working on their second album, 1996's 'Second Toughest in the Infants' they released the single 'Born Slippy’, which was an instant hit following its inclusion on the soundtrack to the movie, ‘Trainspotting’.

During his time with Underworld, Darren also founded his record label, “Underwater” in 1994. It was initially an output for himself and the artists he met along his travels, but it grew to become one of the most influential dance labels of the early nineties. Underwater began as a deep techno label, but when Darren’s taste shifted from techno to a more house/progressive house style, the label followed suit. It’s sixth 12” release (Life’s Little Pleasures/Mr.Sonic) came from an artist listed only as ‘Ned Flanders’, but is rumored to have been Emerson himself.

Emerson also emerged as a much sought-after remix talent, with remixes for such diverse acts as The Chemical Brothers and Bjork. 

Darren’s selection?

Timmy Thomas - Why can’t we live together [Polydor] 1972

“Sorry about my late reply…ok the track id choose is..”Timmy Thomas” “why cant we live together”-because of its pure simplicity and raw production..its a masterpiece..and of course the message is still so true…a simple message..beautifully and heartrending in its delivery….”

Underworld - Rez can be heard on Bunker Sessions episode #16.

Timmy Thomas - Why can’t we live together can be heard on Bunker Sessions episode #27.