The 4th Annual Brooklyn Electronic Music Festival, brought to you by MeanRed Productions, does a multi-night, multi-venue takeover on North 6th street in the heart of Williamsburg on November 11th and 12th

Since it’s inception in 2008, BEMF has established itself as Brooklyn’s most influential genre bending musical event by bringing together fans from across the US to celebrate this city’s electronic musical landscape proudly featuring both emerging and established artists from the Boroughs and beyond sharing the same stage.

Featuring: over 40 artists, a curated food truck lot, street art and installations and more.

Ticket pick ups at the Food Truck Lot at 61 North 6th street.



More announced soon...

Tickets on sale on 10/17
$45 pass valid for both days of this event
21+ only at The Cove, Cameo, Zablotsky's, Brooklyn Bowl
18+ Music Hall of Williamsburg, Public Assembly

First conceived in the summer of 2009 by Toronto-based multiplatform artist John O, Diamond Rings burst onto the scene with a series of singles and videos featuring green screen camera trickery, over the top choreography, and daring androgynous outfits and makeup. The videos received international praise from both the online media and fashionistas alike. The singles, pressed to limited edition vinyl, sold out in a matter of weeks and received critical praise including "Best New Music" honors from Pitchfork.

Although initially pegged in some corners as a novelty act, audiences soon began to identify with Diamond Rings' uniquely lyrical brand of pop songwriting and his overtly glamorous live sets. Showcasing real human emotion and honest vulnerability is rare enough for a 24-year-old let alone one who matches his eye shadow with his Air Force Ones while dancing about onstage with the reckless abandon of a teenager in the bathroom mirror. But there's something surprisingly mature shimmering beneath the glamour, hidden in John O's immediately iconic voice, and whip-smart lyrics.

Now Diamond Rings is finally settling down long enough to deliver a fully realized album, the much anticipated "Special Affections". In keeping with his predilection for confounding public expectation the album dabbles in a wide range of styles and soundscapes. Spacey slow jams give way to aggressive guitar rock that leads seamlessly into shuddering club beats and soaring synth lines. Tying everything together are the heartfelt lyrical sentiments of a young artist interested in far more than getting his audience to "just dance."

"I'd compare my music to the Starz on 54 cover of Gordon Lightfoot's "If You Could Read My Mind" that they did for the soundtrack to the movie Studio 54," John O says, adding, "I do not believe that there needs to be a disconnect between popular music and lyrical honesty."

If you've followed Matthew Dear over the years, then you know he doesn't like to stay in one place for very long. Even as a primarily electronic artist in the early 2000s, Dear hopped from label to label, switched aliases often, and made everything from steely microhouse to harder Detroit techno. But his biggest departure was 2007's Asa Breed, the record where he stepped out from behind the decks and reached for the mic. Singing on tracks and leaning more heavily on song structure, he built strange hybrid music that had one foot in techno and the other in pop.

Dear's latest album, Black City, follows this path but pulls a pretty drastic shift in tone. Where Asa Breed was bubbly and squeaky and ultimately dancefloor-bound, this record is dark as night. The music brings to mind blown-out warehouses, desolate alleys, and seedy basement nightclubs; it's some real threatening, grimy shit. The production is as inventive and immersive as ever, but what separates this album from the last is that Dear mostly sticks with one theme all the way through. Asa Breed was all over the place at times, but this album has a cohesive thread to follow and smaller vignettes within it.

"Spawned from the urge to do something apart from his post-rock band Fridge, Kieran Hebden's Four Tet project balances organic and programmed sounds. Hebden formed Fridge with Sam Jeffers and Adam Ilhan while still in high school. When Fridge went on temporary hiatus for Jeffers and Ilhan to attend college, Hebden spent time playing with ideas gained from hip-hop and electronica that he hadn't had time for while concentrating on the band. Eager to experiment, Hebden bought a computer and began collecting drum and sound samples. Though his tracks sounded contrary, Hebden produced them all in his flat using only his computer to loop, slice, and paste downloaded samples and rhythms. His first full-length was 1999's Dialogue, which was noticed by experimental dub pioneer Pole (Stefan Betke). The two eventually collaborated on a 12", Four Tet vs. Pole, which included an original song by each and a remix of the track done by the other artist. Around the same time, Fridge were signed to the label Go! Beat, owned by Polydor. Hebden retained Four Tet as a side project, however, and released subsequent records Pause (2001) and Rounds (2003) through Domino. The No More Mosquitoes EP and the "My Angel Rocks Back and Forth" single preceded the 2005 release of Everything Ecstatic. In 2006, Hebden put together two compilations of some of his favorite tracks, LateNightTales and DJ-Kicks, as well as Everything Ecstatic Films & Part 2. The two-disc Remixes was also compiled and released that year, as were two volumes of his Exchange Session project with jazz drummer Steve Reid. These two volumes found Hebden working under his proper name for a change. This trend continued when their third collaboration, Tongues, arrived in 2007. The four-track Ringer, issued the following year, was the first Four Tet release in over four years, and it was trailed by the critically adored full-length There Is Love in You in early 2010." - Diana Potts, AllMusicGuide

Hudson Mohawke, (b. Ross Birchard), also known as DJ Itchy, Hudson Mo or Hud Mo, is an Electronic music producer/DJ from Glasgow, Scotland, affiliated with the LuckyMe collective of musicians and artists. He is signed to Warp Records and released his debut album Butter in October 2009.

At the age of 15 Birchard, under the name DJ Itchy, was the youngest ever UK DMC finalist. His earliest gigs as a club DJ were with Glasgow Uni’s Subcity Radio where he was part of the culture city kids show and later other shows including Turntable Science with Pro Vinylist Karim and Cloudo’s Happy Hardcore show. Birchard became Hudson Mohawke after seeing the name engraved on a statue in the hallway of his accommodation. He was signed to Warp Records despite a very limited track record of official releases; the bulk of his releases were unofficial tracks and DJ mixes circulated on the Internet. His first official release to get major notice was “Free Mo”, a track on the Ubiquity Records various-artists compilation Choices, Vol. 1 (2007); subsequently, he was featured as a remixer on Choices, Vol. 2 (2007). In 2008 his 12” EP Ooops! on LuckyMe/Wireblock became an underground sensation, particularly once word spread of his recording contract with Warp.

Daniel Pineda and Asma Maroof, a k a Nguzunguzu. The group, which takes its name from a traditional Solomon Island figurehead used to protect against supernatural forces during canoe trips, offers a unique blend of R&B, house, cumbia and tribal music. They are known for improvising with, well, really weird sounds achieved through electronic instruments and a room full of synthesizers, as well as for an energy that Hanratty says is “incredible.”

Alfred Darlington isn’t a paint-by-numbers musician. From how he looks (early Victorian Dandyism), to how he makes music, or how he expresses himself and views the world, his is a very individual ‘bespoke’ outlook.

Alfred was born in Santa Monica in 1977 to an artist mother and professor father. Musical from very early on, as a child he was classically and jazz-trained in a number of instruments, but his interests were broad and varied – less a prodigy than a renaissance boy whose obsessions ranged from Greek legend to the mountains of Wales. As a 15 year old he finally persuaded his parents to take him to the Principality. Whilst in a YWCA in London he flipped the radio dial, found a pirate radio station and taped some UK rave and hardcore. “It was my first ‘Eureka!’ moment in music,” he says.

Back in the US he joined local rock bands, jazz bands and ska bands, which he enjoyed but felt limited by, too. At home he was listening to Warp, Ninja and your harder electronic stuff. He started DJing out the more leftfield side of drum & bass and making his own rudimentary productions. They were meant to fit the d&b template but they kept turning out different and from his outsider’s experiments his own style was born. He chose the name Daedelus as he had a childhood obsession with invention, and what was he doing, after all, if not tinkering and fiddling and experimenting like the “gentleman inventors” of old?

In 2004 he released the concept album 'A Gent Agent' on micro-label Laboratory Instinct. The 2005 album 'Exquisite Corpse' on Mush featured the likes of TTC, Mike Ladd and MF DOOM. Ninja signed Daedelus for UK/Europe (a relationship which reached its full expression on 2008's 'Love To Make Music To', his first album for the label worldwide and put together with the help of their team).

Since his last album 'Love To Make Music To' for Ninja there has been no let up in Daedelus’ productivity. He has remixed or been remixed by and produced with all of his LA scene peers including Flying Lotus, Nosaj Thing, The Gaslamp Killer, Baths, and countless others from further afield. In addition, singles and EPs under his own name have come out with Brainfeeder, All City, Magical Properties (the Daedelus home-imprint), Alpha Pup, Warp and Stones Throw. And all the while his reputation has grown internationally, his place in the LA scene has also solidified as a musician that many of the hottest names in the city turn to for everything from bass clarinet licks to advice on obscure electronics; all the while with a continuous string of tour dates across North America, Asia, Europe, the UK, and beyond.

2011 starts not only with his new album but the meticulous planning of a huge tour featuring guest vocalists from his 'Bespoke' LP and with a spectacular visual show curated in part by Emmanuel Baird (of Manchester's Warehouse Project and Hoya Hoya nights) which will feature a top secret new invention codenamed ARCHIMEDES, promising to yet again re-invent live electronic performance.

From URB and XLR8R to NME, his production continues to gain high praise. Titts music is a permanent fixture in blogs, charts and the press. Tittsworth has been asked to remix everyone from pop icon Kanye West and disco legend Grace Jones, to DNB frontrunner Subfocus, Steve Aoki's Dim Mak label and AC Slater's Party Like Us Records. He has gained critical acclaim from Interscope Records, who personally invited him to Will.I.am's house to showcase well-received Titts tracks.

Congratulations to Jackmaster who won DJ Magazine’s “Best breakthrough DJ award” 2010.

Reggie Watts is a Seattle based entertainer who performs music, theater, dance, and comedy.

With their second EP on Man Recordings, Munich´s super hybrid partymeisters Schlachthofbronx return with four huge tracks that represent next level bass music.

Leading track “Carimbo” puts the sound of Northern Brasil on the New Orleans bootie map with an irresistible melody and bounce riddims. “Steel Kazoo” is an uptempo smasher that revisists the Trinidad drum legacy in 21st century fashion. “Coolie Fruit feat. Gnucci Banana” is another Bounce influenced track that jumps in your face. And last but not least “Yuh Mumma”, which gives the vibe of the Mexican gulf city another serious European re-examination.

Brooklyn-based DJ / producer Kingdom rose to public acclaim with his debut single "Mind Reader" (released on Fool's Gold in early 2010), a collaboration with big-voiced NYC diva Shyvonne. But even before "Mind Reader," Kingdom had been deeply involved in Bok Bok & Lvis-1990′s London-based Night Slugs collective, having had his European debut at their second-ever club night. It was his mixtapes that first alerted Night Slugs' attention. His debut 2006 mixtape fused grime, crunk, US club, and house with his unique adaptations of R&B vocals. On his debut Night Slugs EP That Mystic, Kingdom delivers five tracks that reference many of the aforementioned genres, but also posses a completely individual, otherworldly gleam. It's the sound of digital chimes, operating system environments, skipping CDs, midi ringtones. Kingdom now represents the leading force in a new generation of American bass producers. And with upcoming releases on Night Slugs, Fool's Gold, and his own Fade to Mind imprint, his presence on the playlists of international DJs continues to grow.

What is it about Eclectic Method that inspired U2, Phish, Fatboy Slim and Public Enemy to employ their talents? That inspired Cannes and Sundance to have them headline their closing night parties? That impressed Motown and XL Records to hire them for official remixes; Sony PlayStation to have them develop video games levels, and MTV Europe to have them kick-start the MTV Mash series? Simply put, it’s because Eclectic Method is reshaping the platforms to bring us tomorrow’s entertainment today.
Eclectic Method – featuring London natives Jonny Wilson, Ian Edgar and Geoff Gamlen – helped pioneer the emerging art of audio-visual mixing since first cutting U2’s Mysterious Ways music video with the Beastie Boys’ Intergalactic as an experiment back in 2002. The trio’s audio-visual mash-ups feature television, film, music and video game footage sliced and diced into blistering, post-modern dance floor events. It’s a cyclone of music and images mashed together in a world where Kill Bill fight scenes and Dave Chappelle’s Rick James rants are ingeniously cut and looped over bootleg samples, DVD scratches and pumped-up dance anthems. It’s a real-time subversion of technology and media performed live on video turntables for what LA Weekly called a “mesmerizing” sensory overload.
“Eclectic Method are the remix kings… a head-rush that unites disparate pop culture elements into an insanely infectious, beat-wise roller coaster,” raved DJ Magazine, while music-producing legend Brian Eno says, “Earwax problem? Eclectic Method will shake it loose.”
Eclectic Method have released two “video mix-tape” DVDs, 2005’s We’re Not VJs and 2008’s Lock Up Your Videos, but millions have seen their work in other contexts. There’s the U2-commissioned Zoo TV video remix the rockers used as a concert opener, and a mega-mix for Fatboy Slim’s 2006 DVD Why Make Videos. XL Recordings celebrated their 10th anniversary by commissioning an Eclectic Method mega-mix and live performance combining everyone from M.I.A. to the White Stripes, while the Bob Marley Family and Motown have both used Method remixes to showcase their rich video catalogs. From the Jammy Awards and Getty Images World Tour to film studios like Palm Pictures, New Line and Lion’s Gate, content creators are lining up to invigorate their catalogue with the Eclectic Method stamp.
Eclectic Method also claims one of the freshest live shows in music. The group’s performed at such popular events as Glastonbury, The Festival, Winter Music Conference, BBC’s One Big Weekend and at several major film festivals. Top companies like Blackberry, Motorola, MTV, Spike TV, Oakley, Adidas, Apple, AOL and Red Bull have all tapped Eclectic Method for content-launch parties.
With such visionary ideas, it should be no surprise the trio boasts a wealth of experiences. When the group formed in 2002, Ian was already a popular scratch DJ and journalist. Geoff, a regular at The
Haçienda and a veteran of Manchester’s Factory Records scene, had a front row seat to the Soviet Union’s collapse working at the British Embassy in Moscow. Jonny, who spent several trying years in post-war Bosnia, worked as a sound engineer and beat-maker for legendary producer Brian Eno (U2, Coldplay) and
played in bands with future members of the Libertines and Razorlight. With these types of resumes, Eclectic Method were bound to do something revolutionary… and so they have.
With Europe and Asia already jumping, Eclectic Method is readying the New World for the 2.0 AV revolution. To expand their U.S. efforts, Jonny relocated to NYC and Ian to the City of Angels to give American fans a jolt of the Method live show. With upcoming shows in Mexico, Canada and Brazil and Geoff holding down the fort back home, Eclectic Method have truly become a global brand.
Back before MySpace or Facebook even existed, Eclectic Method came together to push the limits of technology and create a window into the future. More than a half-dozen years later, they now sit at the forefront of audiovisual entertainment with a style and technique that’s redefining the way people enjoy music. Needless to say, it’s no longer just a Method—it’s a movement.

After relocating to Austin, Texas via New York, DJ / Producer Dubbel Dutch (a.k.a. Marc Glasser) burst onto the scene with a slew of remixes and original tracks guided by legendary Brooklyn/Copenhagen-based Palms Out Sounds blog and label. His sophomore release "Throwback" made serious waves in 2010 recieving praise and plays from Bok Bok, L- Vis 1990, Sinden,Brodinski, Jamie XX and so many more underground dance scene leaders.
A self-proclaimed “internet-digger” Dubbel’s digital crates are full of obscure records from around the globe, as well as his own productions, re-edits, and of course, exclusive material from like-minded collaborators. Both his DJ sets and tracks pull inspiration from a panoply of collective global styles including but not limited to: UK House and Grime, US Club Music, Dancehall / Soca, South African House, Kuduro, Bubbling, and Rap/RnB.
In late 2010 Dubbel released both tribal guarachero and kuduro inspired projects - released by a sublabel of Untold’s Hemlock imprint and J-Wow’s (of Buraka Som Sistema) Enchufada label respectively. To date, Dubbel has officially remixed artists as diverse as Edu K, Momma's Boy, Yolanda Be Cool, Youngstar, Daniel Haaksman, Matt Shadetek, and many more.
He is currently working on remixes for Nguzunguzu, Rainbow Arabia, and R1 Ryders. As well as a new EP of original material for Dave Quam’s Free Bass label and a white label 12” on Dutty Artz forthcoming in 2011.

Icelandic golden child in America and New York native just back from Europe, both Holmar and Greg have both dedicated themselves to the debaucherous worship of all good things that can happen in a dark crowded room with good lighting.

Bringing together a wide variety of influences from house to minimal and disco to techno, first and foremost these guys bring the party to the party. Releases on seminal labels Life and Death, Moodmusic, Music For Freaks, Brique Rouge, Global Underground and their own label, Thugfucker Recordings are proof that there's more to them than just a couple of pretty faces.

A hip-hop fixture since the dawn of the '90s, DJ Stretch Armstrong has been instrumental in presenting up-and-coming MCs through his media barrage of radio programs, mixtapes, and even video games. The New York native's first notoriety came as one-half of the Stretch Armstrong and Bobbito Show, which quickly became one of the premier forums for the city's emerging hip-hop talent to be heard. Several of the '90s' biggest names in rap received early notice on the Columbia University radio program, including the debut of the Notorious B.I.G., or just Biggie Smalls as he was known in 1991. His appearance on the show was widely circulated, as were many of the show's legendary freestyle sessions, and led to Biggie's mention in a magazine column, which led to his introduction to Sean "Puffy" Combs. Biggie wasn't the only artist to freestyle on the show and subsequently blow up: Nas, Wu-Tang Clan, Mobb Deep, and countless others all appeared on the show. By 1998, the show had run its course, but not before the Village Voice declared the Stretch Armstrong and Bobbito Show "the best hip-hop show in New York" and Source magazine voted it "the best hip-hop show of all time." The demise of the show was not the end of Armstrong's radio career, however, and it was on Hot 97 -- the only commercial radio station in New York dedicated to hip-hop at the time -- that he continued with XL Radio.
The mid-'90s also saw the first of Armstrong's forays into record production with Dolo, which released singles from MF Grimm, the Korp, Dutchmin, and Powerule. Dolo was also the outlet for Stretch's Lesson mixtapes that always featured exclusive tracks and freestyles. Dolo was retired at the end of the '90s while Armstrong worked briefly with Game Records. The short association lasted long enough for the busy DJ to make it into over seven million homes as one of the radio personalities on Game Radio, one of the fictitious stations featured in the popular Grand Theft Auto III video game. Spit Inc., a new label helmed by the enterprising DJ, appeared in 2001 with a compilation featuring 50 Cent and Royce da 5'9".

Braille is better known as Praveen, who forms Sepalcure together with Machinedrum. He uses this new alias for his house orientated output, mixing influences from Chicago, Detroit and the UK effortlessly. His debut release on Rush Hour, "The Year 3000", ships April 25th.

Coproprietor (with Marcus “Shit Robot” Lambkin) of the much-missed Plant Bar, one half (with Glen “DJ Wool” Brady) of electrohouse duo the Glass, head honcho (with Stretch Armstrong) of the Plant Music label. Glittering electronic disco, down ’n’ dirty hoochie house, gloriously deep beats and more, all ready to set your toes tapping.