Level III Halloween: Bambounou, Dennis Free, Mai Iachetti, MESA, RHR, Rose Kourts, 1morning

IMPORTANT: RE-ENTRY PERMITTED WITH ALL TICKET TYPES TILL 7AM Level III and friends gather for a supernatural ten-hour marathon to kick off Halloween weekend. Residents MESA and Dennis Free are joined by Bambounou, Mai Iachetti, RHR, Rose Kourts, and 1Morning for a wicked two-room takeover at Green Room. Bambounou explores stripped-back, percussive and tactile club music, with production depth that exceeds the common ear. This year alone has seen him release That Thing through Yoyaku, the Parsons EP on AUS Music, and a rework of Peven Everett’s “I Can’t Believe I Loved Her” for the legendary King Street Sounds label. His attention to detail in his productions cannot be overlooked, and the same can be said for his understanding of a dancefloor's energy. Miami-based Mai iachetti could only be described as a hypontist. The Club Space resident utilizes elements of house, techno, electro, minimal, and breaks, to create a drawn out feeling of distortion for listeners on the dance floor. Originally from Charlotte and now based in Brooklyn, Rose Kourts has built a reputation for unpredictable, fearless sets that retain a deep sense of musicality and joy. Rose brings a philosophy of fun, a risk-taking verve and a distinct, magnetic presence to every booth she steps into. 1morning has quickly emerged as one of techno’s most promising new voices, channeling the raw intensity of ’90s techno with a forward-thinking, deeply funky edge. Representing a new generation of artists honoring the legacy and true essence of techno, he is actively reshaping its future through a vinyl-only approach. 1morning's sets cut through trend cycles with clarity and soul, resonating with an unshakable sense of purpose, all fueled by his deep passion for timeless, soulful dance music. RHR is always seeking to understand the stimuli of São Paulo, which is seen through his research across techno, bass, dancehall, electro, and baile funk. Recognized for the precision of transitions and the creativity behind the choices made, he illustrates like few others the discomfort with the obvious.