Time Warp Is Throwing It Back To Technos Heydays

0
Time Warp Is Throwing It Back To Technos Heydays

From Detroit to Budapest, each capital has its own signature techno style, but no country embraces the genre like Germany. It's a relationship rooted in history, particularly the fall of the Berlin Wall in 1989, when West Germans were encouraged to organize the party after years of state repression. Borrowing notes from Detroit's current techno boom, the Germans wrote the rules for hosting a rave: an empty warehouse, an energetic audience and, of course, crowd-pleasing DJs.

A genre that usually falls under the umbrella of electronic music, the definition of techno (and what rage is) has become somewhat cloudy over the years. Time Warp, a traveling music festival, wants to set the record straight by inviting international audiences to experience "authentic" German techno-rave live. In 1994, Time Warp traveled to the "Walzmühle" in Mannheim, Germany, one of the largest mills in Europe. For the past three decades, Time Warp has taken place in major cities around the world, with famous artists such as Richie Hawtin, Laurent Garnier and Sven Vath along the way.

Over the weekend, Time Warp heads to New York for two nights of relentless madness in Brooklyn, in collaboration with TechSupport. In a new interview, Time Warp's American founder Robin Ebinger and co-founder Rob Thoma talk about what he calls a true "German rave," hosting the event in New York and the evolution of technology over the years.

Time Warp describes itself as "an authentic German rave experience". What does this mean in terms of the actual participation experience? What can a raver expect from a night with a time warp?

Ebinger: People and the media declare that the original Time Warp festival is the most iconic techno festival in the world: a true rage that preserves the true spirit of the culture. What sets Time Warp apart in my opinion is our inherent connection to the dance floor and our intimacy with the venues and artists.

We go into every show with nervous excitement and make sure our passion for music and dedication shine through. We also paid a lot of attention to the details of the dance floor. This means we try to focus on the whole room and not just the stair lights and video. It is a symbiosis of light, video and sound. Attending Time Warp isn't just about enjoying great music, it's also about being part of a cultural event.

As an event based in Germany but traveling internationally, how does the experience fit into a city and its own tech culture?

Ebinger: Creating a time warp experience for different cities and their unique tech cultures requires a careful and flexible approach. Similarly, it is the choice of local partners. Here in New York, for example, the TechGaf team has become very close friends.

The final festival was held in a sort of industrial warehouse at the Brooklyn Navy Yard. Aesthetically, what were we trying to create with this time warp experience? Can you walk me through the decision-making process, from selecting a location to selecting an artist?

Take: In Mannheim and some other iterations of the Time Warp, they often have up to five levels, but it's hard to find places in the US that have that many. Teksupport has always been active at the Brooklyn Navy Yard, but especially captured the time warp there as we were able to create a tunnel and activate two adjacent buildings to create a two-story experience.

This year we found a balance between pure techno in one room and more house and techno in the other. We wanted to stabilize the tech house sound and diversify the programming to include more house and techno favorites in both rooms, not just pure techno.

Ebinger: The choice of location adds another complication. This must be the place where our productive vision comes to life.

Meanwhile, the series selection is a collaboration to showcase Time Warp's unique talent and local market preferences. The process seeks to identify which international artists resonate with audiences, while providing a platform for emerging and established local talent.

You've talked before about wanting to "concentrate" the events of the time warp. Given that an event can attract 20,000 people, how does this sentiment develop?

Thoma: Many festivals and big events focus mainly on visuals, but our production covers all areas. We create 360-degree experiences that don't focus on a single chapter. We have also designed an audio system that distributes sound levels evenly across a wide range of speakers to produce music at low levels

How has the phenomenon evolved over the past three decades since its inception in 1994? What changes have you seen in techno over the years?

Ebinger: Although Time Warp has grown a lot, we are still accepted and considered an underground dance phenomenon. Time Warp is huge but still offers an intimate club atmosphere. More broadly, through social media and online platforms, we have built a strong community of techno fans, connected by their passion for music and entertainment.

Techno music has a cyclical nature. New music contains elements of the past, but techno is gaining wider recognition. His influence transcended his genre.

Have you had a special time warp moment since you took over?

Ebinger: I always enjoy greeting familiar faces, friends and industry colleagues. And of course we have the experience of seeing dance floor designs come to life. Many of them are symbolic, so the real test happens when the dance floor is really full. This is a moment of truth for the entire show.

The best Ableton hack! 😱🔥

Tags:

Post a Comment

0Comments

Post a Comment (0)