Last week, Feed Me dropped a four-song EP in the form of A Giant Warrior Descends on Tokyo. And to put it eloquently, it’s pretty dope.
Anyone who knows their way around EDM knows who Feed Me is. Besides pumping out some sickly original sounds, Feed Me’s green monster performance persona has become the new face of the DJ/producer – with the music acting as the otherworldly voice bursting through the character’s evil, shit-eating grin.
I’m not here to tell you who Feed Me is, hopefully you’re already familiar. But something I realized while doing some research (glorified creeping) on Feed Me is that the man behind the monster is possibly the best representation of what EDM is truly supposed to be.
Let me explain.
As a very recently recruited lover of EDM, I still remember when it all just “sounded like noise” to me. That was back in the dark days 2012 B.S. (Before Skrillex).
While I’m no longer one of those people who thinks EDM sounds more like a robot orgy than actual music, I still understand it. EDM isn’t everyone’s thing, and technically it is just noise. Then again, all music is technically noise (now we’re getting deep).
But the one thing I can’t stand is when people say EDM isn’t art.
Anything can be art. Hell, you can nail a piece of string to a canvas and sell it for $800 on eBay with the right marketing. But there are certain people in any medium who have a level of talent and creativity that makes them true artists.
And that’s where Feed Me comes into this story.
All it takes is a simple bio-read on Jon Gooch to understand just how artistically-inclined electronic dance music (EDM) can, and should be. After all, his music isn’t just pleasing noise – it’s a cross-platform masterpiece.
My love for Feed Me started with a love for the moniker, and the music appreciation came after. Because I’m an artist and at the risk of sounding shallow, it does make you ‘judge a book by its cover,’ and the Feed Me cover art is always aesthetically awesome.
What’s even cooler about the artwork for Feed Me is that it’s all done by Jon Gooch himself. And if you go through his Facebook and Instagram photos (like I said, it’s not creeping if it’s research) you won’t find a typical DJ’s Instagram of crowd photos and selfies from behind the booth. Instead, you’ll find what looks more like an artist’s portfolio – dozens of sketches, mock-ups, fully colored images, and images in the limbo between sketch and final product.
They range from simple doodles of the Feed Me monster to intricate and beautiful anatomical art pieces.
It makes sense given that Jon Gooch actually started as a graphic designer. But his art background has fed into more than just the advertising part of Feed Me. The toothy grin of LED screens that adorned his booth for the Feed Me With Teeth tour was designed by him for light art company Studio Rewind to make it both uniquely his, as well as a unique experience.
On top of all that, the actual sound samples he chose for ‘High Noon’ on his newest EP, A Giant Warrior Descends on Tokyo show a profound appreciation (and knowledge) for art. The sample dialogue he uses is from the obscure and highly artistic sci-fi film, Snowpiercer.
There are some DJs who are in it to make money, not to make artwork. But Jon Gooch’s web of creativity and artistic influence leaks over into his DJ persona in a way that sets him apart.
Not everybody likes EDM, and that’s fine. But in the future, don’t put Jon Gooch under that umbrella.
After all, Feed Me is really a work of art.
(Featured photo courtesy of Feed Me’s Soundcloud)