Who is Feed Me?
It has come to my attention that the majority of the Chinese population do not know who Feed Me is. Which is a bit both surprising and entertaining considering China loves electro house, trap and dubstep; all three genres of which, he is able to produce as good as any artist that can only handle one. This flexible form of talent is becoming increasingly rare in today’s saturated market, namely the mainstream genres which these 3 genres capitalize on.
A brief history lesson on Feed Me, named Jon Gooch, from London will illustrate his prodigious sound design and knowledge of songwriting. He began, as did most electronic music producers from Southern England that later converted to dubstep/electro house producers (think Nero and Knife Party), as drum n bass producer SPOR. He got signed and experienced some significant success, but nothing compared to how the world would welcome his next alias.
In 2012, his creativity gave birth to this mischievous little green goblin sporting an evil grin and took on the name Feed Me. He created his own 3D figure that had controllable arms, rendered his own monster visuals, and designed the stage that I fell in love with at first sight at my first EDC as shown below. Music, lighting, stage design, visuals, 3D mapping and directing music videos – can you think of any other artist that does it all too? The dude’s an artist, straight up.
His live shows were in such
high demand, he was touring all over the States and Europe down to Australia (however without “the teeth” down under, sorry aussies). After a year of this lifestyle, the artist inside of him started to anxiously crawl out to cause him to take a break from touring. He explained, “ what I really love doing is making music, art, telling stories; being creative. I don’t want a situation where this becomes a back seat.” He later tweeted, “Seems common to assume writing music means wanting to DJ – I started by accident? It’s a fun and enriching social experience but not art.”
As depressing as this was fo his fans that couldn’t get enough seeing him live, it turned out to be a blessing in disguise as he was able to dedicate more time to finishing his first full-length album, Calamari Tuesday (available on PYRO). This album from start to finish is legendary, he tapped into the newly founded [at the time] trap game with Rat Trap, went melodic with a dub entitled Dazed, and offered plenty of his signature synth slicing dubstep drops in Ebb & Flow, Orion and Chinchilla.
As incredible as that album was back in 2012, as it can still be slapped today, this article is primarily about his newest album, consisting of a pair of 8 track EPs. The first half, entitled Feed Me’s Family Reunion, is now available on PYRO for your listening pleasure.
The EP opens up strong with a 7 minute trip sampling vocals of random phrases focusing on “memory loss” and “starting off on a clean slate.” An acid synth makes its way in loosening up the listener as it transcends into its first clean drop, only to begin another build up roughly 45 seconds later. At this point, Feed Me has come out to play, and boy did I miss that lil green minion growling. The songwriting in this intro song perfectly coaches any first time listener of his composition skill.
Track numero dos, Stay Focused, turns up the album’s trajectory up a bit and waking anyone up reminding them to stay focused. The sub bass is so cohesively used with the wobbles it would make any bass head chub at least 65-75%. Jon caps off the song with his signature humor, sampling a slowed down monotone voice that’s boring af, could you focus on that humor? Red Clouds brings Feed Me into unchartered territory, not that he hasn’t flirted with trap before, but this is most definitely not just trap – its dat new new turnt af, Yellow Claw ish, lit festival trap ya bish. Needless to say, its not my favorite he’s ever produced, but I have a feeling it will be heavily favored by all the trap cats and shifty sluts that like hearing those 1-D 808s drops.
What it Feels Like featuring Nina Nesbitt, is his ‘pop’ track off the album to give the girls a break from the raunchiness the boys crave for and get in the multiple other tracks. Schizoid is a trap dub that is very unique for his taste. Getting a bit dark at time, this song actually goes pretty hard. Utilizing breaks and some glitch hop influences, I could see hearing this in any trap sets as that surprise drop.
Feed Me comes back in full form on his 6th track, revisiting his patented minimal drops and use of white space in between the rattling bass. Kaneholler’s vocals on Trouble, is a great compliment to the overall dark reaches of dubstep, I foresee further collaborations in the future.
Some say the EDM bubble has burst and morphed into the deep/bass/future house status that currently consumes its status now. Could that be the influence behind the twisted mindfuck that is American Cemetery? Listen and think for yourself!
The EP finishes up with Life Raft, which plays with some tropical soundwaves cut in the verse. Then the drop takes a different turn and gears towards a moombahton bass drum which was refreshing, especially on an ending note.
Overall, Feed Me doesn’t disappoint, his production quality is too superior to possibly do that; however since my standards are particularly high for him based on his past work, I wanted to hear more of his unique sounding dubstep on more songs as opposed to just a couple. I support his diversity and am eager to hear what’s next for second reunion of the Family Reunion.
Now let’s listen to one of Feed Me’s songs: