"With DJs and electronic-music producers clamoring to play in [the Anchorage] it is one of the most acoustically unsettling settings around. We mean acoustic in a good way.

Andy Battiglia, New York Citysearch.com

"No doubt about it, the Brooklyn Bridge Anchorage is an amazing space."
Simon Watson, The Village Voice

"The cavernous rooms of the Anchorage were the perfect pert dish to experiment with sound and rhythm."
Sue Apfelbaum, Res Magazine

June 7, German Minimal House night: Thomas Brinkmann, Jörg Burger and Dimbiman

"Over the past couple of years few techno artists have been as prolific as Cologne, Germany's Thomas Brin kmann, and none have been so consistently rewarding and unpredictable. [Brinkmann] makes music that often draws a line from the art studio to the dance floor. He's employed minimalist theories to create funky yet regal patterns of beats, bass, static, and unidentifiable noises that slide in and out of sync with each other.... The rubbery laid-back techno [of J. Burger a.k.a. The Modernist and The Bionaut] is more conventional than Brinkmann's but no less cool."
Mike Wolf, Time Out New York

"Despite the relative sparseness of [Dimbiman's] compositions, a pumping house beat thrived underneath and made the music irresistibly danceable."
Sue Apfelbaum, Res Magazine

June 14, Phill Niblock, Thomas Buckner and Guitar Army:

"Guitarists were scattered throughout the space, slightly differing tones beat against one another, spellbinding overtones hung on the air and Mr. Niblock's movies of third world laborers flashed on the screen, combining to find transcendence and dignity in repetition."
Neil Strauss, The New York Times

June 28, Force Inc. and Mille Plateaux 10th Anniversary with Porter Ricks, Kid 606, Panacea, Thomas Heckmann and SND:

"With SND, electronic music was broken down to its most basic components-often simply a digital, radio or electromagnetic signal- and filtered through homemade audio processing software to produce the thin, decorative grille of clicks, tones and pops that are the trademark of SND's record label, Mille Plateaux. The sound still wasn’t traditional electronic dance; rather, [Porter Ricks] brought dance beyond sharpness, clarity and precision one normally expects, making the music lose its form like butter melting in a pan."
Neil Strauss, The New York Times

"Porter Ricks [Thomas Köner and Andy Mellweg] fit the space like a glove. Combining Köner's texturology (he's an avant-garde composer renowned for bleak arctic dronescapes) with Mellweg's grasp of house's pump-and-pound rhythm, Porter Rocks make formlessness funky...Porter Ricks hit a sublime pitch midway between warm pulse and cold rush: a sound as visceral as hardcore, as sensuous as deep house, as abstract as glitch. The combination of this glorious roar and the Anchorage's architecture was like being teleported through time-space to Berlin's legendary early-'90's club E-Werk, a disused power plant. Finally, the Anchorage became the rave temple it has always promised to be."
Simon Watson, The Village Voice