Jon Gooch, the man behind Feed Me, is easily one of the most versatile producers in the business. While he’s garnered renown under the guise of Feed Me releasing spectacular electro and dubstep, it’s easy to forget his previous life as drum ‘n’ bass producer Spor. Turning back the clock, Feed Me’s newest remix of Monsta’s “Messiah” is an ode to both the breakbeat revolution of the 90′s as well as his success under his former moniker. Emphasizing the original’s uplifting vocals while layering complex percussive patterns, Feed Me’s remix to “Messiah” is one of his most impressive releases to date.
Editors’ Selections is an opportunity for your favorite Dancing Astronaut contributors to talk about some of the music they’re listening to that we might not always get an opportunity to post about from week to week. Sometimes it’s out there, sometimes it’s obscure, but you’ll always get a peek into what we’re loving behind closed doors.
Jon Gooch has returned, and he’s done so in excellent fashion. His latest production may be under the guise of Feed Me, but it’s brimming with conspicuous Spor influence. While Dirty South unveiled his big room remix of ”Messiah“ last week, Feed Me’s dubstep and breaks rendition has just been aired, and it’s phenomenal. Alvin Risk may have gotten the first stab at a dubstep remix, but Feed Me’s production is arguably stronger, making wonderful use of the vocals and layering diverse drum patterns. Dubstep at times, breakbeat at others, Feed Me’s brilliant take on the empowering single will be released May 7th on OWSLA.
Clearly writing songs about robots wasn’t enough for John Gooch, known to the masses as Feed Me. The multi-talented mau5trap artist today unveiled the latest video tracking the construction of his mysterious Project Feed Me robot. Modeled after the green monster mascot he designed, the project is the latest example of Gooch bringing his twisted artistry to life. Already capable of toothy grins and menacing squints, it’s a wonder anyone felt comfortable giving this thing opposable thumbs. Catch his previous two videos to see its progress after the break.
When I think NeroEssential Mix, I think “instant classic.” This Essential Mix from back in 2010 was undoubtedly the catalyst to Nero’s rising star in the UK dubstep scene and beyond. This was Nero pre-Welcome Reality. The mix starts off bass-heavy with the now hugely legendary Flux Pavilion remix of “Cracks” and their own remix of Plan B‘s “The Recluse” and moves into French electro like Alan Braxe, Kavinsky, and Thomas Bangalter. Nero sprinkle in many of their own originals and showcase basically every huge name in dubstep and DnB: Skrillex, Chase and Status, Netsky, Doctor P, Feed Me, Sub Focus, and Magnetic Man just to start. Kick start your Monday morning with this one and lap up one of the best Essential Mixes from any genre in recent years.
We have not seen an EP out of the man behind the teeth since last February’s Escape From Electric Mountain. This week, Feed Me returns with a new three-track output entitled Death By Robot. The EP showcases Feed Me‘s ability to transcend the typical sounds of bass music and create productions true to his unique electro style.
Beginning with “Death By Robot” the London-based producer delivers a precise electro beat that echoes with synthesized vocals. “Dialup Days,” on the other hand, gives listeners a funky distorted bassline that veers into the sounds we have yet to hear from the talented producer. “Gravel” finishes off the EP carrying the gritty bass sounds we have come to expect from Feed Me, but opens with a cascading synth before unloading his signature muffled electro beat.
Click below the break to listen Death By Robot and look out for Feed Me in a city near you as he begins his 2013 tour on January 29 in Washington DC.
2012 has been an exciting year for dance music, the scene has grown beyond any of our comprehensions, supplanting itself in popular culture, fueling the soundtrack of commercials, sitcoms, and even a Disney movie, and shaking the foundation popular culture by establishing a new wave of music consumer. At the forefront of everything have been the artists, the true pioneers of the electronic dance music wave. With a scene as large and expansive as EDM, it was hard to honor only 50 – for every David Guetta or Calvin Harris there are droves of aspiring bedroom producers all doing their fair share of pushing the movement — simply by creating and sharing their art. With the EDM explosion officially in full swing in 2012, we saw countless new artists emerge, seasoned producers experiment with new sounds, and massive collaborations form that made crowning the “best” artist a nearly impossible task.
We have run through the Biggest Tracks of 2012 and now we are ready to unveil our picks for the most influential artists of the year. We’ve already covered 50-41 and today we bring you our picks for 40-31. Hop past the break to see who made the cut.
Best of the Rest is a daily feature from Dancing Astronaut that recaps the most important posts of the day as well as the stuff we didn’t get to. With the rapidity that dance music news and releases come out it’s difficult for us to hit everything — we hope BOTR serves as a catch-all. Make sure to check it out at the end of each day to ensure you don’t miss anything! (more…)
Just in time for the start of his January tour and new EP scheduled for a January 14th release, Feed Me has served up some sneak peaks of what he’s been working on since releasing his Escape from Electric Mountain EP in February of this year. “Death by Robots,” “Gravel,” and “Dialup Days” represent the quintessential Feed Me style through and through. Never one to pigeonhole himself to one particular sound, he has done well to adapt to the ever-evolving dance music landscape without sacrificing his own personal brand. On “Death by Robots” guttural wobbles are swapped with squeaky clean electro house chops and heavily vocoded vocals while “Gravel” remains appropriately gritty, with a powerful driving bass line and aggressive top line synth work. “Dialup Days” is Feed Me at his funkiest, with a shuffling UK garage-tinged bass line emblazoned with 8-bit arpeggios. Listen to the 3 previews after the break, and grab some tickets to see Feed Me and his teeth when they come through a city near you.
Every Saturday night at 1am in the UK, Pete Tong allows an artist of his choosing to take over the Radio 1 airwaves for two full hours. The Essential Mixis legendary and for many of these DJs and producers, the pressure feels immense. A stellar mix can shoot you to recognition, solidify a career, or facilitate a comeback. Although with the generous input of fans, Pete Tong does eventually crown an Essential Mix of the year himself (last year: Above & Beyond), we also put our heads together to decide on the ten mixes from 2012 that made us listen again, and again, and again.
