After 30 years, young crowds still line up for punishment at L.A.’s harshest nightclub, Das Bunker

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Most clubs focusing on a specific, intense music style don’t survive long in a fast-paced city like Los Angeles. But Das Bunker, an industrial club, has been going strong for an impressive thirty years – about as long as the city’s iconic D Line subway has existed.

As a long-time fan of electronic music, I can tell you that Das Bunker is absolutely legendary in Los Angeles. It started as a roving party back in ’96, thanks to DJ and promoter John Giovanazzi, and it was all about pushing that raw, brutalist club sound. The scene has had its ups and downs over the years, but it’s incredible to see it thriving again with a whole new generation. You see bands like HEALTH packing out venues like the Palladium, and that classic electronic body music sound is still dominating dance floors. Even Nine Inch Nails, who were always a Bunker favorite, played Coachella recently – it proves this sound is still hugely influential.

The party has become a regular event at Catch One in Mid-City, and Giovanazzi has been celebrating the club’s anniversary all year with performances by both established European artists known for their intense sound, like Das Ich, and newer acts such as Spike Hellis and Kontravoid. He recently discussed with The Times the challenges of L.A.’s experimental nightlife scene, what younger generations are looking for in extreme music, and how to preserve the legacy of underground music.

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This interview was edited for length and clarity.

Thirty years is a really long time. Can you think of any other clubs or nightlife spots in Los Angeles that have been around that long?

Honestly, there aren’t many events like this happening anywhere. Plus, things are different now compared to how they used to be, especially for festivals. For our anniversary, I didn’t want to make one big, expensive party. It became clear that we could celebrate by hosting a series of smaller events, each highlighting the different types of music and artists we’ve featured over the years. We wanted to offer something for everyone, but spread out over time instead of all at once.

We’ve been wanting to return to our original location, Que Sera in Long Beach, for years, and it’s finally happened. It hasn’t changed much at all – looking at old photos, everything’s almost exactly the same, except now smoking isn’t allowed inside.

What was the climate like for industrial music in L.A. back when you started in the mid-’90s?

I remember things were really tough back then, and that’s actually what inspired us to get started. It felt like the music scene was falling apart – record labels were dropping artists constantly, and even established musicians were switching over to metal. Plus, there was this amazing wave of bands coming out of Europe, but hardly anyone in the States seemed to notice them! Clubs wouldn’t book them, and it was almost impossible to find their records in stores. It was a shame, because they were seriously good.

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Were there ever moments when you thought the club had run its course?

Around 2007, it became clear that the initial excitement surrounding this scene wasn’t going to last. What worried me most was the decline in younger attendees. We always kept track of ages at our events, and we started noticing that very few people straight out of high school were coming to the club anymore. That was a major warning sign that we needed to understand what was happening.

That period also coincided with the rise of the local EBM scene, which was really exciting for us. Before that, we always had to bring in artists from elsewhere, but now we had bands of that style right here in L.A. We really focused on promoting this new local scene, even though our regular audience wasn’t used to it. I honestly believe that embracing this change is the only reason our club is still around today.

What are young people discovering in this music today that feels exciting and dangerous?

It’s like stumbling upon a hidden gem – something most people don’t know about. It feels like discovering a secret world with its own history, stories, and endless things to learn and enjoy. It’s interesting to see people getting into bands that weren’t popular when they first came out, and a little amusing too. You’ll see them suddenly trending on TikTok and wonder, “What’s with this band?”

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There is a ton of history and lore to this scene for curious young fans.

A lot of up-and-coming bands that helped shape today’s music scene are now lost to time. When MySpace went away, thousands of bands lost their only online presence, and that music is essentially gone. I think someone should document this lost history, but it’s not something I’m equipped to do – we really need a music historian to take on that task.

With so much music available online these days, how do you ensure Das Bunker remains a successful and vibrant venue in Los Angeles?

We were worried Catch One would close, but instead it was renovated into a flexible, modern space. I focus on booking events that will attract a crowd. Our biggest draw is probably the ‘noise room,’ which is inspired by the club’s original focus from the late 90s. While it’s supported by larger events, it’s what really sets us apart. We use it to recreate the atmosphere of the past, offering a chance to experience a music genre rarely found online – it’s a unique, live experience you can’t stream.

It’s rare to see a music and fashion culture as complete as the industrial scene used to be. Has the internet played a role in its decline?

I don’t think many traditional subcultures still thrive today. In the past, discovering a subculture meant actively seeking it out – like finding a new band and then immersing yourself in the scene through magazines, clubs, and adopting the associated style. Now, with platforms like YouTube, you can explore these things without really joining the subculture, which has largely dissolved that immersive experience. Juggalos are one of the few exceptions, still maintaining a strong, dedicated community.

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Recently, the music world lost Douglas McCarthy of Nitzer Ebb, a pioneering figure in the scene. As someone who cherishes this music, how do you help preserve its legacy and history?

The best approach is to give these artists a platform. We recently hosted Das Ich, a truly unique band that’s been performing since the early ’90s. It was a big deal for us because the singer almost died from a brain aneurysm a few years ago. Before the pandemic, we also featured Dirk Ivens – he’s a pioneer responsible for a huge amount of the music our audience enjoys, so we wanted to showcase his work.

So, how’s the underground nightlife scene in L.A. doing overall? You guys seem to be thriving, but I’ve heard it’s tough to get people to come out to events these days.

Things feel a bit riskier these days. One promoter told me it’s like every event is extra challenging now, with higher costs and more on the line. But when things do go well, it’s incredibly rewarding, and it’s great to see smaller venues being adventurous. You really have to switch things up – you can’t rely on the same old formula and expect a good turnout anymore.

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2026-05-20 13:35