After 20 historic years in operation one of Europe’s oldest and most respected electronic music festivals, Time Warp, touched down in NYC over Thanksgiving break. Time Warp US attendees crossed decrepit train tracks and gutted manufacturing buildings as they approached their destination, a gigantic warehouse on the Hudson River’s edge at South Brooklyn’s 39th Street Pier.
In a way, Time Warp is aptly named because it brings attendees back to the underground techno scene of the 20th century.
Décor is minimal, giving you the sense that it is an independent production. Don’t get me wrong, Time Warp is big business and it has sponsors but as an attendee you’re not overwhelmed with branding. Two stages held concerts simultaneously, while heavy black curtains separated the opposing atmospheres, effectively preventing light and sound pollution. Both stages were outfitted with monstrous speaker systems that have but one purpose, bass.
Time Warp’s main stage, famous for resembling an ice cave, is created by hanging white banners that stretch over the audience all the way to the rear wall. Technologically speaking the stage lighting is simple; no lasers involved, but simple doesn’t mean amateur.
At times the entire ice cave is illuminated with brilliant colors that throb in accordance with the bassline. The effect is impressive to say the least and it fits in with the theme that new technology doesn’t necessarily make a better product.
Speaking of the product, it’s aggressive and it’s primarily techno. The weekend was a chance for New York’s burgeoning artists to stack up against Europe’s heavy hitters. The aforementioned DJs represented well, further giving credence to the city’s claim as a progressive electronic dance hub.
Highlights from Friday night include No Regular Play opening with a haunting trumpet solo, and Joseph Capriatti, the “Tiesto of Italy” as one attendee staunchly proclaimed, had the crowd swooning over ethereal melodies.
Dubfire’s set, however, stole the show for me. The Grammy-winning artist’s futuristic sounds and ability to combine genres of electronic music make him truly unique.
Saturday night’s line-up was just ridiculous. Taimur & Fahad held it down for NYC. Philly’s own Josh Wink had an outstanding set until a sound engineer accidently pulled out an audio cable, temporarily cutting the music for about 10 seconds. He took it like a champ; embracing hecklers with a smile and waving his arms in a manner that said bring it on. The subsequent bassline destroyed any notion that the man was rattled; you can’t be after 24 years in the game.
Speaking of OG’s, Sven Vath and Dixon both killed it. Richie Hawtin is an animal, always has been.
Since its inception in 1994 Time Warp has been important to the development of EDM. NYC was deemed worthy to host such a festival is a testament to the city’s growing support for its underground DJs. If this past weekend showed us anything, it’s that NYC has a lot to offer dance music, and that the city deserves to host similar events in the future.