Molten Music Technology Drops the November Bunker: AI Angst, Gear Mayhem, and Community Raves

Robin Vincent doesn’t waste time—he launches straight into a tidal wave of new gear, from DF Audio’s patchwork patch bay to Dreadbox’s Nix reissue and the Stylophone DF8. The focus is on unique functionalities and design quirks, not just another round of same-old boxes. Teenage Engineering’s EP–40 gets a special mention for its genre-specific approach, blending reggae, dub, and dancehall into a party-in-a-box that’s as much about cultural celebration as it is about sound mangling.

If you’re after a desktop synth that sounds like your soul being mangled through analog circuitry, or a filter box that’ll turn your signal into something unrecognisable, this roundup delivers. Robin’s style is relentless—he calls out the weird, the wonderful, and the just plain useful, all with that signature Molten Music Technology honesty. There’s no hand-holding here: just a rapid-fire parade of gear that’ll have you reaching for your wallet or rolling your eyes, depending on your taste.

Among the gear avalanche, two machines stand out like neon signs in a fog: Arturia’s KeyStep Mk2 and Endorphin.es’ Evil Pet. The KeyStep Mk2 takes the beloved original and crams it with new features—song building, melody mutation, and deeper arpeggiation—at the cost of a bit of immediacy. Robin’s verdict? You lose some knob-twiddling fun, but gain a creative powerhouse that’s as at home in a modular rig as it is in a DAWless jam.

Then there’s the Evil Pet, a granular synth that ditches the space-age sparkle for a riot of pink and tractor-tire knobs. It’s granular for the rest of us: instant, intuitive, and capable of everything from drones to rhythm-shredded chaos. Robin’s not usually a granular fan, but this one’s got him hooked. If you want to hear what these beasts can really do, you’ll need to watch the video—words barely scratch the surface of the sonic carnage.

Robin doesn’t shy away from the AI elephant in the room. He lays out the fear and loathing—musicians worried about job loss, creativity theft, and a tidal wave of soulless tracks. But he’s not buying the panic wholesale. Instead, he sees AI as a wake-up call: if your music’s just factory fodder, maybe it’s time to step up your game. The real threat, he argues, is to the corporate jingle-makers, not the artists pouring their guts into every track.

He’s philosophical about the AI deluge—millions of tracks generated, but who’s actually listening? Robin’s kids are still digging for rare vinyl B-sides, not AI sludge. The connection, the story, the human messiness—that’s what matters. AI might take over the background music for adverts, but it’s not about to replace the thrill of a live gig or the joy of finding a new favourite band.

There’s also a glimmer of hope: AI as a creative tool, not just a threat. Robin points to Roland’s Project Lydia pedal and the coming wave of AI-powered DAW features. The challenge is to use AI ethically and creatively, not just as a shortcut to mediocrity. If you want the full rant—equal parts doom, hope, and dry British wit—the video’s where you’ll find it.

Robin wraps up with a shout to the UK’s synth scene, hyping upcoming events like Synth East and Synth Picnic. Synth East is a full-on festival at Norwich Arts Centre, with manufacturer expos, live performances, and DIY workshops run by Moritz Klein. If you want to get your hands dirty, learn circuit design, or just bask in the chaos of a room full of modular maniacs, this is your spot.

Synth Picnic, on the other hand, is the monthly antidote to gear FOMO—a pop-up event where you can try, rent, or just drool over the latest synths and modular bits. Robin’s bringing the Astrolab 37 this time, so if you want to see what all the fuss is about, show up and get patching. Community, coffee, and a room full of synths—what more do you need? The real magic, as always, is in the room, not just on YouTube.