Gorgon City at TBA | Brooklyn, NY | October 14th, 2017
Oct
2017
14

BEMF w/ GORGON CITY



  • Date:Saturday, October 14, 2017
  • Venue:TBA
  • Age:21+
  • Artists:Gorgon City, Green Velvet, Matthew Dear, Jimmy Edgar, Riva Starr, D Double E, Harvard Bass, Kill Frenzy, Dajaé, Joe Pompeo
  • Promoters:BEMF, Brooklyn Electronic Music Festival
  • Time:10:00 PM

Since its inception in 2008, The Brooklyn Electronic Music Festival (BEMF) has established itself as Brooklyn’s most influential, independent genre-bending music event by bringing together fans from across the world to celebrate New York City’s electronic music landscape.

Based in Williamsburg, Brooklyn, BEMF spotlights both established and emerging electronic music trends, from niche sounds and scenes to stalwart representatives.

GORGON CITY

Gorgon City are North London producers Matt & Kye. Their already distinctive sound is a logical development of the duo’s individual work as RackNRuin and Foamo. Hailing from the impressive Black Butter camp (who brought you Rudimental amongst others) and due to release their debut album in 2014 as a joint venture with Virgin / EMI, the pair are one of the most exciting and hotly tipped new acts in the ever-flourishing landscape of British club savvy pop. Gorgon City offered up a platform for the two producers to fuse the deeper sounds they’ve been excited by for years but until now didn’t have the opportunity to explore. Polished, powerful and party-minded, their sound very quickly caught the attention of tastemakers as disparate as; Annie Mac, Diplo, Eats Everything and Mistajam with their early explorations into this new venture.

You can thank their long-standing love of jungle, house, grime, hip-hop and garage while growing up for this exciting meeting of musical minds; the sum of their many influences, inspirations and ideas. And right now they’ve only just scratched the surface.

The summer of 2013 paved the way for what’s to come from these boys – their singles ‘Real’ ft. Yasmin and ‘Intentions’ ft. Clean Bandit made people sit up and listen. Both achieved ‘Record Of The Week’ on Radio 1 from Nick Grimshaw & Mistajam and Sarah Cox & Sarah-Jane Crawford respectively, with ‘Real’ going on to sell over 47,000 copies in the UK to date.

Their latest single ‘‘Ready For You Love’ received its first exclusive play on R1 recently as Zane Lowes ‘Hottest Record in the World’ and features the vocal talents of MNEK who co-wrote the track with Matt and Kye. It’s a track that further establishes Gorgon City’s ability in capturing stunning performances from their collaborators. MNEK’s soaring soulful delivery marries perfectly with the duo’s signature production touches, bringing together the beatific agility of two-step with the gravity and resonance of deep house, dropping into an instantly addictive chorus hook.

The last few months have seen Gorgon City cement their repertoire as tent-shaking favorites internationally, with festival sets at Glastonbury, Parklife, Hideout, Global Gathering, SW4 and Isle of White. They have also had an all-summer residency at Space, Ibiza with Carl Cox and Ibiza Rocks and did a one off performance for the Radio 1 Ibiza weekend. They have freshly supported Rudimental on a ten date run in various Australian arenas and full UK Academy tour this autumn.

Collaborations currently underway with Kiesza, Bipolar Sunshine, Jess Glynne, Josh Record, George Maple, Vicktor Taiwo and Meverick Sabre among notable others promise much more excitement to come from the duo in the coming months and into the album for 2014.

GREEN VELVET

Change has been a constant theme throughout the successful career of Green Velvet, but as he has crossed genres, explored themes from the comedic to the serious and changed monikers, the common thread running through the music he has made for nearly two decades is its roots in and dedication to the Chicago House sound.

His first transformation came when he left master’s degree studies in chemical engineering at UC-Berkeley to turn a hobby into a career making music, influenced by the sounds he had been exposed to as a science-fiction-loving, video-game-playing kid whose father was a part-time Chicago DJ.

As Cajmere, he released his inaugural Underground Goodies EP in 1991 on his Cajual label, keeping true to the early House sound. He quickly followed it up the next year with the smash hit “Coffeepot (It’s Time for the Percolator).”

Not one to rest on his success, he soon changed things up, teaming with vocalist Dajae for “Brighter Days,” a more mellow House tune, this one released by Emotive. That pairing would be his last with a female vocalist until his recent partnership with rapper Kid Sister for “Everybody Wants.”

The 17 years in between those two projects witnessed an incredible array of electronic music emanating from this prolific artist, as well as a second label under his direction, Relief. Adopting the persona Green Velvet (not to mention a Day-Glo shock wig) for his techno-oriented pieces and DJ appearances, he became the champion of new wave Chicago beats through the ’90s-known best for hits such as “Preacher Man,” “Flash” (a No. 1 U.S. dance hit in 1995), and 1997_s laugh-inducing “Answering Machine.” The decade ended with his first album, Constant Chaos in 1999.

The new century brought a compilation album, Green Velvet, during a brief signing with Warner Bros. Records’ short-lived F-111 imprint, and a production album, Whatever, on Relief. The punk-inspired Whatever explored darker themes than his previous work, including racism (“When?”), drug use (“Genedefekt” and “La La Land”), alienation (“Sleepwalking”) and bending to authority (“Gat”).

“La La Land” went on to become by far the biggest selling track of his career. His live act expanded as he began playing a keytar, with two other musicians-Nazuk and Spaceboy-backing him, playing heavily distorted synths.

The last decade also saw Green Velvet become a fan favorite across Europe, playing to huge crowds at festivals in addition to live radio appearances and club gigs. Numerous side projects and remixes under various names also added to his seemingly nonstop musical output.

In 2005, Green Velvet released his third album, Walk In Love, which stayed true to the House sound, with a few pop- and punk-oriented tracks for good measure, including “Come Back” and “Pin-Up Girl,” both of which featured a live guitarist.

The ongoing evolution in the music, career and life of the artist born Curtis Alan Jones in Chicago has been and will continue to be fascinating to watch and experience for his many followers.

MATTHEW DEAR

Depending on whom you ask, Matthew Dear is a DJ, a dance-music producer, an experimental pop artist, a bandleader. He co-founded both Ghostly International and its dancefloor offshoot, Spectral Sound. Hes had remixes commissioned by The XX, Charlotte Gainsbourg, Spoon, Hot Chip, The Postal Service, and Chemical Brothers; hes made mixes for Get Physicals Body Language and Fabric mix series. He maintains four aliases (Audion, False, Jabberjaw, and Matthew Dear), each with its own style and distinct visual identity. He straddles multiple musical worlds and belongs to and hes just hitting his stride.

Matthew Dears 2003 full-length debut, Leave Luck to Heaven, is a suite of sparse, wickedly funky house laced with Dear’s deep, distinctive vocals, and includes the much-loved single Dog Days (voted one of Pitchforks Top 100 Songs of the Decade). The record was met with rapturous acclaim from both the dance-music establishment and the critical press, including a four-star review in Rolling Stone. The 2007 follow-up, Asa Breed, is a considerable departure from Heavens dancefloor excursions, incorporating the polyrhythms of Afrobeat, the irreverent pop sensibilities of Brian Eno, and the austere beauty of Krautrock. More four-stars reviews followed, and Dear subsequently began touring with a live three-piece band, Matthew Dears Big Hands, in which Dear acted as frontman, commanding the stage with a Bryan Ferry-like swagger and a gentlemans grace.

2010 saw the release of Dears watershed third album, Black City, a darkly playful sound-world that envelops the listener like the arms of a malevolent lover. Black City was met with near-unanimous critical praise, earning top marks from Mojo, Uncut, Q, URB, and the Village Voice, ending up on countless year-end lists, and earning Pitchfork’s coveted Best New Music nod. A worldwide tour followed, in which Dear and a newly expanded band continued to hone their live chops with vicious focus.

Matthew Dears latest full-length, 2012’s Beams, is both a drastic departure from and worthy successor to _Black City_s gothic masterwork. A suite of weird, wild, and queasily optimistic rhythm-driven pop songs, Beams is the latest chapter in the continuing evolution of one of music’s most fascinating minds. After over a decade of exploring pops outer limits, Matthew Dear now inhabits a rarified corner of the musical universe: no longer tethered to any one genre, respected by his peers, and blessed with a bottomless well of creative energy. Now is Matthew Dears moment, and it sounds like nothing else.

On stage, Matthew Dear performs with a multi-pieced live band, unraveling the tightly wound album tracks into kaleidoscopic walls of sound. They have supported Interpol, Hot Chip and Depeche Mode on their world tours, and have performed sold-out shows from London to New York City.

JIMMY EDGAR

After a two-year break, Detroit producer and wayward star-child Jimmy Edgar debuts on Scuba’s Hotflush Recordings armed with an album full of futuristic sleaze. Known for his unique take on jacking house and electro funk, he’s recently been splitting his time between the US and Berlin, exploring transcendental meditation and the boundaries of the nonphysical. This offering is an extension of that journey, bringing eleven tracks of erotic robopop to the table. Titled Majenta, this LP is a departure from his past sound, marking a shift in his own ever-expanding consciousness, as well as another exciting chapter of his musical career.

Each track is an aural manifesto, giving well-deserved nods to his varied musical influences. Close encounters with Detroit legends Derrick May and Juan Atkins, Jimmy’s 2004 signing to Warp Records, and his early exposure to Kraftwerk have all acted as lynchpins in the cultivation of his sound. With a number of releases on Glasstable, Semantica, Nonplus and long player releases on both Warp and !K7, Majenta reflects Jimmy’s evolution as both artist and child of the cosmos.

According to Edgar, the making of the album was steeped in countless synchronicities, continuously reminding him he was on the right path. In contrast with his last LP, XXX, for !K7, which took five years to make, Majenta is more raw, more spontaneous and in his words, ‘more futuristic … than my other music, which played a lot with retro, especially R&B.’

From the outset, Jimmy’s flexing his Kraftwerkian muscle, with vocoder complimenting his own unadulterated voice and ‘80s synthlines bubbling away alongside jazz-funk keyboard riffs. From the raunchy and sexually explicit ‘Take Me on a Sex Drive’ (‘windows down, legs up high’) to the low-lit, hypnotic feel of ‘Attempt to Make it Last’, to the UK garage rhythms of ‘Let Yrself Be’, to the Kiss-era Prince vibe of ‘I Need Your Control’, it’s clear that the postmodern is Edgar’s domain. The Frampton-esque vocals of ‘In Deep’ close out the LP and further cement his envia le place in the intergalactic community.

Spring/Summer 2012 will see Jimmy playing a number of live shows across Europe and the US in support of Majenta (including major festivals such as Glade, UK), as well as his continued exploration into the world of LEDs and synchronized light technology.

RIVA STARR

Just when you think you know Riva Starr… He’ll probably confuse you with yet another side to his musical personality. Don’t call him fickle, though. Try bored. Try excitable. Try unpredictable… And then some!

As Philippe Stark once famously said “I do not try to please everybody, I make what I can, how I can, when I can. […] I try to deserve to exist by doing my job well. I have this sickness called creativity and I exploit this sickness to offer new meaning in things to my friends. That’s it, very simple”

Riva humbly subscribes….

Driven from his Italian motherland by a compelling desire to reinvent, innovate (?) and progress (!), Riva has made London his home since 2008: A breath of freedom and fresh beats that allowed to him to wear his inspirations proudly beyond the sleeve and deep, deep, deep into the groove. A Neapolitan cultural exile with a degree in Chinese literature; a passionate family guy who still manages to juggle a DJ schedule of over 200 international gigs a year, a label and production duties. How can you pigeonhole a man who never sits still?

From the dolce vita to Dalston, the Big Smoke’s open eared community and exciting cauldron of influences finally allowed him to truly make the records he wanted to make. In the past he’d produced house, techno, breakbeat, electro, pop, folk and everything in between. Here was the city where he could bring them together. As the very name of his own label Snatch suggests, Riva’s unpredictable “Magic Hat” selection keeps both him and us listeners on our toes. It’s kept him relevant, but more importantly, it’s kept him alive and kicking. To Riva, though, he’s just doing his job, hoping to pick up new friends along the way.

It’s been like this from the very first releases. Having taken his previous guises as far as he could, his infamous debuts on Made To Play and DirtyBird were the result of anonymous MySpace demo entries. Refusing to rely on any kudos he’d developed before, Riva took a brave dive into a whole new world of beats and let the music speak for itself. Since then he’s strutted with acts as varied as Noze and Balkan Beat Box, remixed Dennis Ferrer, Usher, Gossip and Estelle (to name a few) while future fix-ups include Fatboy Slim and Beardyman.

Never forgetting his roots, Riva records range with the wily eclecticism of all the ages; he strikes chords we can all relate to: from the DJs that have appreciated his work (from Tiesto to A-Trak, Jesse Rose to Annie Mac and Giles Peterson to David Rodigan) to you, me and everyone in between. Throughout this mayhem, he’s been hard at work on the DJ circuit – with over 190 gigs in 2010 alone – strutting his stuff in some of the coolest venues on the planet such as Panorama Bar, Space, Womb and Fabric as well as some of the biggest festivals in the world from Fuji Rock to Global Gathering to Exit and beyond. But enough of the past: second album “Freak Like Me” (tbc) takes off where If Live Gives You Lemons left us. A vibrant manifesto of enthusiastic eclecticism, it promises to be fun, futurebound and full of surprises.

Backing up Data Transmission’s recent description of him being “one of house music’s brightest, chirpiest and talented DJs and producers”, it’s loaded with electrifying new ideas, fresh experiments and unexpected collaborations. Each one a reminder of Riva’s consistent curiosity and unpredictable style.

HARVARD BASS

Raised in a family with a musical taste steeped in rich Mexican culture, Victor Hugo Ramos was born with rhythm in his veins. At the pivotal age of 16, he would sneak into house and techno clubs in Tijuana to soak in the waves of early inspiration. Driven by a beat he could not ignore, Victor bought his first DJ setup and began mixing songs that were making an impression on him, regardless of genre. This forward-thinking mentality would soon become crucial in the development of the Harvard Bass sound.

Ever-evolving since his first remix deal with DJ Orgasmic and Teki Latex’s Sound Pellegrino label, Harvard has become a pro at combining smooth, minimal beats and deep ghetto house grooves with corrosively addicting drum patterns. “Techyes”, a collaboration with the legendary Green Velvet, harkens back to the glory days of techno while more recent tracks like “Bugged” and “Juicy”, released on Relief Records, incorporate this influence with other elements that come off as retro yet modern simultaneously.

With the creation of Bump City Records, Harvard Bass is extending his brand to other talented producers and ensuring that the scene stays fresh with creative ideas. Constant praise pouring in from respected DJs such as Tiga, Richie Hawtin, Boys Noize and Dubfire salutes the burgeoning musical niche that is taking form, with Harvard at the forefront. Armed with the talent and tenacity to succeed, Harvard Bass has been cemented as a force to be reckoned with in House, Techno music and beyond.

KILL FRENZY

Kill Frenzy (aka Sébastien) is a young dj producer from Limburg, Belgium. He worked his way into the production game rather fast after at age 17 discovering the fast dirty booty house tracks comming from Chicago and detroit. He started to make his own nasty tracks and was one of the first European juke (booty house) producers to release several booty house tracks on the infamous Dust Traxx label (Chicago) and the lengendary Dj Godfather’s label Juke trax (Detroit)

Not wanting to limit himself to just one style he started working on producing various styles including;House,techno,tech-house,minimal etc… His first ep was picked up immediatly by Joshua Harvey, better known as: Hervé of The Count of Monte Cristal. Harvey signed Kill Frenzy to his well known and well respected Cheaper thrills(UK) label. He then released several EP’s and remixes on Cheap thrills and Midnight Munchies, always keeping some of that original booty shaking flavour in his tracks.

Kill Frenzy’s dj skills landed him some of the best gigs in Belgium playing at venue’s like; Pukkelpop, Fuse – Forma T, Petrol, Laundry day, Rock Herk, Extrema Outdoor. So look out for his new ass shaking productions. He will always try to shake your ass, get freaky and have a good time.