In a trend that none of us are mad about, some artists are taking over Webster Hall for the weekend. A few weeks ago Tiesto Dillon Francis graced the stage for Saturday and Sunday and this past weekend Feed Me with TEETH ate up the crowd and spit ‘em back out smiling. As Feed Me, Gooch creates music that isn’t limited to any one sub-genre of EDM but is an amorphous sort of sound that drifts from hard electro, to dubstep, mixed with seemingly random bits of alternative rock or drum n’ bass. His production credits show a unique range and an impressive ability to have a voice that leaves an almost immediately recognizable signature on every track he works on.
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Jon Gooch is the man behind Feed Me and he is more talented than you are. It’s okay, don’t be upset. He’s more talented than most of us mere mortals. Aside from making his own brand of amazing boundaryless music, Gooch draws and designs the Feed Me character (a little green goblin with a shit-eating grin) as well as designed his incredible light show known as ‘Teeth’. Feed Me and the man behind it are about making music a journey and the ‘Teeth’ become a part of that journey truly allowing the DJ (who will also mix lighting clips for the ‘Teeth’ while mixing music) to transport his audience.
His style can’t truly be pinned down but for a sampling of range you might check his brand new Death by Robot EP which features tracks with elements of dubstep, electro, drum n’ bass, fund and disco. Or check out his collaboration with the Crystal Fighters “Love Is All I Got” an indie pop/rock electro-dub track that tells an awesome story. Or better yet, just check him out in a couple weeks at Webster Hall where he’s playing with Mord Fustang. Originally scheduled for one night the city clamored for more and Alex English and the GBH crew made another night happen. You can check him out, WITH TEETH on Saturday or Sunday.
OWSLA road warrior Kill The Noise finally released his highly anticipated Black Magic last week, and the EP certainly lived up to expectations with its refreshing take on bass music. While dubstep has arguably become a genre over-saturated with mediocre productions that simply rely on the craziest sounds and biggest drops, Black Magic focuses instead on intricate melodies, infusing the tracks with a certain musicality that one often does not find in other aggressive dub creations. In a recent interview with Billboard, Kill The Noise, or Jake Stanczak, noted that he â€˜spent a lot of time trying to do things at different tempos. Our last EP was mostly dubstep and a little bit of electrohouse and all that. This record is a little less dubstep and a little more different genres and a lot more musicalâ€¦I set out to explore more of my musical ability, showcasing that skill.â€™
For a few years now we’ve seen the beauty that comes from an indie-dance collaboration, but rarely has it been so carefully crafted to balance the two as this. Just a month after destroying his Radio 1 Essential Mix, Feed Me is back on the production side – “Love Is All I Got” starts off with comforting vocals from folktronica band Crystal Fighters, but after being paired with Feed Me’s wobbly electro and snappy drums, it hits a new level of electronic crossover. This one has feel-good written all over it.
While so many curled up indoors to recover from their weekends, a hoard of dedicated bass fanactics peeled themselves off their couches to venture out for electro demon Feed Meâ€™s debut at Pacha this past Sunday. Having performed at Terminal 5 earlier this year for his â€˜With Teethâ€™ tour, and coming off his successful Mau5strap release Escape from Electric Mountain, Feed Meâ€™s Sunday set was indeed a rare opportunity to see the veteran DJ forego his jagged LCD teeth booth for a more intimate setting.
Local producer and Groove Therapy AM talent DJ Dali took to the decks early, energizing the dancefloor faithful with a 3+ hour set of old meets new; in a time when so many openers rely on simply dropping banger after banger to please an anxious crowd, Dali skillfully intermixed tracks like Spencer & Hillâ€™s â€˜1234â€™ and Gregor Saltoâ€™s â€˜Azumbaâ€™ with a remix of Armin Van Heldenâ€™s classic â€˜Psychic Bounty Killazâ€™ (a track which was almost as old as some of the attendees). Daliâ€™s techno and funk infused electro was so well received that many seemed not to care that the eveningâ€™s main act did not take the stage until 1:30 am.
After simmering in anticipation all night, the floor nearly exploded when Feed Me finally burst through the silence with â€˜Little Cat Stepsâ€™. He then continued with track after track from his extensive discography, transitioning from minimal-esc grime with â€˜Chain Smokerâ€™ to the electronically melodious â€˜Relocationâ€™. As he masterfully directed all 4 Pioneer decks into an electro symphony, it was clear that Feed Meâ€™s years of production and performance experience had fine-tuned his DJing abilities, as each seamless transition was more perfectly timed and executed than the last. Just as his set neared the one hour mark, Feed Me began to fiercely mash his tracks with the likes of labelmate Deadmau5â€™s â€˜The Vedltâ€™ and Knife Partyâ€™s â€˜Rage Valleyâ€™, until his popular â€˜One Click Headshotâ€™ erupted the venue into a mass of fog and resonating vibrations.
The biggest highlight, however, may have been Feed Meâ€™s own energy; he jumped and thrashed his arms during drops, repeatedly thanked the crowd for coming out on a school night, and at one point during â€˜Cottâ€™s Faceâ€™, extended his drink out to an overzealous fan who had pulled himself up to peer into the DJ booth. Naturally, when he got on the mic at 3:00 am to let his followers know that Pacha would allow him to play more tunes if they wanted, he was met with overwhelming cheers of approval. He then slowed it down for a bit, explaining that he hated when sets were all â€˜up, up, upâ€™ and instead liked to â€˜chill out before the big time at the endâ€™. And big it was, as he closed out with his own â€˜Trapdoorâ€™, which transitioned into the throwback Spor remix of â€˜Stompboxâ€™, and finished up with Skrillexâ€™s â€˜San Diego VIPâ€™.
Not surprisingly the audience persistently chanted for one more song, and was graciously gifted with two, as Feed Me once again showed his appreciation for the enthusiastic crowd. While he continued to thank everyone for filling the club on a late Sunday evening, surely the fans were the grateful ones, as they were blessed with an incredibly fluid and lyrically diverse set from a seasoned maestro.
Mau5trap has been kind enough to upload the track to their Soundcloud, but donâ€™t let the title fool you â€“ the trackâ€™s demonic synths and heavy beats resemble Feed Meâ€™s delightfully evil avatar more than fellow Mau5trap darling Professor Meowington.
Feed Me â€“ Little Cat Steps
â€˜Little Cat Stepsâ€™ is slated for release on Mau5trap Recordings on August 20th.
It seems that Tommy Trash never goes more than a week or two without being in the spotlight of the blogosphere. And for good reason – the Aussie has been on fire in 2012 producing a flurry of massive remixes and originals, with his fingerprints on some of the biggest festival anthems this year (see: Cascade, Ladi Dadi, Antidote).
One of Tommyâ€™s productions that went relatively under the radar was his collaboration on Moguaiâ€™s masterpiece album Mpire, entitled In Nâ€™ Out. The original mix is a groove-driven journey of melodic synths, showcasing both artistsâ€™ styles. The recent release of the Tommy Trash remix, out now on mau5trap, features longer buildups and bigger drops not uncommon to any other of Mr. Trashâ€™s productions to date.
Check out the Tommy Trash Club Mix on Soundcloud below and on BEATPORT, and while youâ€™re at it be sure to grab the original.
Moguai & Tommy Trash – In N’ Out (Tommy Trash Club Mix)
Hopefully by now everyone has heard Deadmau5′s newest track ‘The Veldt‘ which after being released on Sunday, has already spawned at remixes and reworks, including this lovely Project 46 reboot. Although the Tommy Trash remix has been in rotation on the live circuit, the full length public debut came yesterday via Pete Tong’s BBC 1 Radio Essential selection show. As has become status quo, no word on official release beyond the intonement of ‘soon’ on Tommy’s YouTube page!
There is nothing but love out there for Deadmau5′s newest track ‘The Veldt‘ released Sunday. In an homage to the track countrymen Project 46 have put a big room progressive edit out there for all to enjoy and download. We are feeling this, and it might work better on the dance floor than the Deadmau5 original which, while a thing of beauty, lacks the deep build up of a tune like ‘Strobe’ that just begs you to dance. ‘The Veldt’ is more of an ambient body hugging melody that will make you move but not jump. Coming off #1 Beatport hit ‘Reasons,’ Project 46 is going places, perhaps even NYC…
Deadmau5 – The Veldt (Project 46 Happy Technology Pancake)
Noisia is comprised of 3 versatile Dutch producers that have influenced artists ranging from Deadmau5 to Wolfgang Gartner to Porter Robinson. Their full length debut, Split The Atom, was released in 2010 to critical acclaim, and Deadmau5 chose to re-release the album on his esteemed imprint mau5trap.
Noisia will tour across Europe and then head stateside for a select run of dates which include a headlining show at New York Cityâ€™s Webster Hall Friday, April 13, and anticipated performances at this yearâ€™s Coachella Valley Music & Arts Festival Sunday, April 15, and Sunday, April 22. Earlier today, Joel Zimmerman himself shared Noisia’s new work on his facebook and said “are you fucking kidding me right now?”. If you want to hear the music that is impressing arguably the most skillful producer of our generation, listen below and support these talented producers from the Netherlands!