Yesterday, after announcing his new EP 'Death By Robot' will release in January, UK superstar FEED ME dropped a 3-track preview on his SoundCloud. The new tracks are eclectic and funky and make me really excited for the rest of the album. Here's hoping we make it to 2013!
Tag Archives: Feed Me
Happy Tuesday fam! We here at DxE are so stoked to share with you the new Kill The Noise EP, BLVCK MVGIC. The highly anticipated official release comes at the perfect time, as fans were left jonesing for more after KTN's epic set at HARD Day of the Dead this past weekend. Along with "Thumbs Up," the banging collaboration with Feed Me that is available for FREE DOWNLOAD here, the EP also features hits like the funky dub track "Jump Ya Body" and "Saturn," my personal favorite, which lends a more dancey, electro feel.
Just half an hour ago KTN released the following statement on his Facebook:
#BLVCKMVGIC has reached #2 on itunes dance chart in less than a day, never thot i could do that. what is this feel?
Enjoy! A xx
This track is HUGE. Released through Mou5trap Records, this new Feed Me tune is another signature hard electro banger straight out of their oven. Be sure to throw this one into your iTunes.
Feed Me - Little Cat Steps
Feed Me - Chinchilla
Feed Me - Gravel
Mr. Oizo - Mositif
Feed Me - Dialup Days
Feed Me - Bully
Awol Nation - Sail (Feed Me Luxe Edit)
Birdy Nam Nam - Goin' In (Skrillex Goin' Down Remix)
Feed Me feat. Tasha Baxter - Ebb & Flow
Feed Me - Sonata in Headphones
Feed Me - Little Cat Steps (Reprise)
Feed Me's latest EP Escape from Electric Mountain was released about 3 weeks back on mau5trap records and somehow a review slipped by our bloggers. The EP highlights Feed Me's extreme talent as a diverse producer, mixing pretty synths with crunchy basslines and wobbly dubstep that may cause your knees to shake. It is a 6 track release that skips from genre to genre, allowing it to be heard in no particular order. Picking out just a few songs to mention, I'll start with 'Relocation'. A smooth, progressive, layered house track that borrows sounds from both Deadmau5 and Moguai, in which the Feed Me-esque wobble is all but forgotten. He definitely makes a statement with this one, revealing that he is capable of transcending genre boundaries and successfully exploring various production stylos. Next, I have to mention the dub-infused 'One Click Headshot'. A solid moombahton feel combined with a dirty off-tempo bassline that features a vocal sample to the delight of video-gamers everywhere. The first 30 seconds is full of fiery synths that lead into the vocal clip from Counterstrike, "I can dance all day! I can dance all day! Try n' hit me! Try n' hit me, c'mon! My heart's beatin', my heart's beatin', my hands are shakin'! my hand's are shakin'! But I'm still shootin'! An' I'm still gettin' headshots! It's like, Boom! Headshot! Boom! Headshot! Booooom, Heeadshot!" Followed by a massive high-energy dubstep breakdown - a super heavy and delightful intro to a track that otherwise doesn't progress much (BUT one of my favorite introductions of the year makes it worth your time). A final song to look out for is "Whiskers" - a pure Feed Me sound that has everything dubby that you would come to expect from his earlier work. All in all I'd give the EP 4/5 stars and say that it's absolutely a good lead into the brit's TEETH tour, which kicks off this March in Seattle, WA. Cheers
DxE: So now that you’ve started working with electronic producers how has that process changed?
JD: It's changed a lot, it was a different experience for us in a bunch of different ways. [For example] I used to write a lot of music on the road and then I’d bring the band and we’d rock it out [live]. “Munkey” (one of Korn’s two guitarists) has his thing where he’ll change stuff and we’ll just do stuff [live] in the studio writing. One time we had the producers come in, they came in with a basic idea, with a beat, then Munkey would jam out on guitar and give them an idea, and then they’d start writing the patches and treating the bass around it. That’s what we did for all the producers except for Noisia and Feed Me [because] they were in London and then [immediately travelled to] Netherlands. Noisia sent us five 32-bar ideas and I picked my favorite three. I put them in song form and then I sang on them. We did the guitars and mixed it and sent it back to Noisia. Then they did their thing to it and we mastered it. With Feed Me, he just sent me a track and I had to cut it all up and rearrange it. Basically I was working with all these guys to come up with parts and it was my job to arrange them into song form because it’s different from electronic music. [With electronic productions] it’s all about the drop and the build and I needed to have verses and pre-choruses, then a chorus...etc. Stuff like that; so that was the difficult part.
DxE: How’d you guys first come up with the idea to integrate electronic artists into your album?
JD: That’d be me. I’ve been a huge electronic fan forever.
DxE: Always dubstep?
JD: No not always. I started DJing when I was 16 so my cup of tea was the electro-hop sound like Egyptian Lover or Afrika Bumbata and then I started getting into freestyle music and Miami Bass. After that I really got into drum n’ bass stuff and that’s why I was really excited to have Noisia onboard because they're gods in drum n’ bass. Especially having Kill The Noise and Feed Me was awesome because Kill The Noise was Ewun and Feed Me was Spor and they were one half of that group Lifted so that shit was amazing. Then I started listening to dubstep about a year and half ago, first thing I heard was Excision, Skream, stuff like that with more dub influence, you know more reggae. Listening to Excision I think he’s the one that invented heavy dubstep. Along with Datsik and Downlink he started taking their bass pack and they could distort them and make that shit heavy and sound like guitars and I really loved it. And then I called Sonny [Moore aka Skrillex] when his EP dropped and I was blown away by all the multi-genres he mixed together. I played the band two songs – an Excision song and a Skrillex song – cuz they had never heard that stuff before and their jaws hit the floor. And then I told them I have this idea of molding these two genres of music together and they’re like “Let’s do it!” So there it began.
DxE: So you reached out to all these guys individually and threw the idea at them yourself?
JD: Yeah, I picked out all the producers myself; I had a wishlist. When we started out we were gonna do an EP, just a couple of songs with with Skrillex and Excision. The first dubstep song we did was with Excision, Datsik, and Downlink and it’s on the album called “Tension”. That was just straight dubstep – no guitars, no nothing it’s just me singing. And that got me really hooked and so I called Skrillex in the meantime and he came down for 3 days, we wrote 3 songs and we did “Get Up!” in like 3 and a half hours. We were having so much fun and being so creative and feeling like we were pioneering into creating like a completely different genre of music that we just kept going. I had a wishlist and I just kept calling these producers and asked if they’d be down to work with us and they were like “fuck yes, we’re huge fans” which made me freak out again because I didn’t know these people knew my band. My last freakout was when we played New York and they took me to a Nero show and the Nero guys came in the dressing room going “holy shit, Jonathan Davis.. we’re huge fans!” so I was like oh my god and they’re one of the pioneers.
DxE: You mentioned the song “Get Up!” was that the first song to preview from the album? Cuz we were at Coachella in 2011 and saw the crowd go absolutely ape shit…
JD: You saw the reaction right? Yeah that one we debuted because we had that song in the can for like 6 months and I kept bitching at my manager like if we don’t get this single out right now someone else is gonna be doing this shit, we need to make our stamp and we made this song and it’s great and it represents both sides – the integrity of KoЯn is there and the integrity of Skrillex is there – lets drop it. So we dropped it that day that we did Coachella
DxE: So right now you’ve got the Path Of Totality tour going on.. your first West Coast stop is this upcoming Tuesday at the Hollywood Palladium (which is the same day as the release of the album). How are the shows different actually performing with the DJs?
JD: Well we play all the tracks live. [The DJs] open up for us; [for example] Downlink opened up with a 30 minute set then Datsik did a 30 minute set and then we came out and did our set. The actual dubstep stuff we do live where we have over 30 drum sets and they’re all automated triggers so they’ll be playing the verse and then when the chorus comes up the triggers change to chorus triggers. We got a keyboard player playing all the lead lines. Only thing that’s on tape is all the percussive stuff and all the bass wobbles cuz they’re tempo sensitive. Pretty much it’s all live.
DxE: So in your opinion is KoЯn the same band it was when you guys started or have you evolved into something new?
JD: I think over the years we’ve evolved, but we’re still the same band. We still have the goal to try and pioneer and do different kinds of music so each of our records is different. But I think over the years, after being together for almost 19 years, we’ve matured and we’re a lot better at what we do and this album we finally got to actually experiment with something we really like doing and it shined through.
DxE: Are you guys still focused on the same target audience or what’s the focus with it all?
JD: We’re branching out to electronic fans and we’re still embracing our fans. We still remember where we came from when we were a metal band. A lot of those fans hate [the new stuff] but we still play all our old songs so, you know, you lose some and you gain some. But we’re getting a lot of new electronic fans because of this new genre we’ve created.
DxE: Have you come up a name for that genre yet?
JD: No… I call it future metal.
DxE: Haha I like it. So now that this future metal hast started, where do you see it going from here?
JD: Oh I can guarantee people are gonna start doing it. It happened it to us in ’94 when that album dropped, how we fused funk and hip-hop together and then we had all the bands that came after.. I can guarantee you’re gonna start hearing bands put dubstep in their music.
DxE: And what’s the next step for KoЯn after this album?
JD: Keep it going man, we love playing together and we’re already 19 years deep so why stop? I mean I don’t do this shit for money or any of that, I do it cuz I love to play and I love to make art. And if that stopped then I wouldn’t do it, so that’s why this album is so important to me – we created art and we didn’t give a fuck what anybody thought.
DxE: I think that pretty much summed it up right there haha is there anything else you’d like to say to electro fans who may apprehensive about listening to KoЯn or a heavy metal rock band?
JD: I just want to thank all the electro fans that have accepted us, I want to thank the electro fans that have come out to my DJ shows cuz I’m a crazy electro head. I love the genre, I love to rage and I just want them to all know that I’m not a bandwagon jumper I’ve been in this game a long time and love the music. It just now, at this time, is starting to shine.
DxE: Awesome, alright Jonathan, on behalf of all of us from Death by Electro, wanted to thank you for taking the time to talk with us.
JD: Sure thing brotha.
With the Meowington Hax Tour taking off, Deadmau5 has released a collective album that includes a bunch of dirty tracks and remixes. If you're into producing and mixing definitely check out the kits below and throw them into your DAW n turn your speakers up.
"As Deadmau5 embarks upon the Meowingtons Hax North American tour alongside a host of the Mau5trap stable, the label head leads the charge with a brand new compilation. It features new and exclusive tracks from Deadmau5 himself and a host of the artists featuring on the tour, as well as a selection of tracks from new additions to the label that you can expect to hear a lot more from in the coming months. With contributions from Feed Me, Tommy Lee & Aero, Excision & Datsik, Zedd, Moguai, Al Bizzare and James Njie, this compilation is set to be the soundtrack to the tour carnage that will undoubtedly ensue. Opening with the insistent, driving powerhouse that is Where My Keys, an exclusive track from Deadmau5 himself, the compilation goes straight for the jugular. Moving through the jarring Cotts Face by Feed Me which fuses together glitchy drums and erratic synth lines and onto recent tour additions Tommy Lee & Aero the compilation doesnt hold up for a second as they deliver two fidgety electro house party starting tracks. Excision & Datsik turn up the heat with Deviance as grinding beats and growling basslines meet extra-terrestrial synth lines, proving once again why their star is most definitely in the ascendant. Zedds remix of Skrillex smash Scary Monsters & Nice Sprites channels the power of the original into a filthy 4x4 monster while Moguais Beat of The Drum surges forward on the elastic synths and rolling bass line with Sofi delivering her vocals with attitude.Upcoming Mau5trap artists Al Bizzare and James Njie also feature on the compilation. Al Bizzare brings Blast Wave to the table, a many-headed beast that switches up glistening synths and swelling bass and is in turns both euphoric and gritty. Rising talent James Njie rounds off the compilation in style, introducing himself with two futuristic progressive house tracks that are at once delicately nuanced and full of impact, speaking volumes of his talent. Mau5trap has grown exponentially since its inception in 2007 and become home to some of the most exciting electronic artists in the world. The new compilation features just some of the talent that the label champions and offers up a decisive musical statement whether you are going to the upcoming tour or not. To celebrate the release of the compilation, the Beatport version will come with selected track parts available for digital DJs giving them the chance to get creative. *The Meowingtons Hax tour runs from 11th August to 5th November, starting in Vancouver and ending in Toronto." [Beatport Link]
01. Deadmau5 – Where My Keys (6:52)
02. Feed Me – Cott’s Face (5:56)
03. Tommy Lee and Aero – Static (4:18)
04. Tommy Lee and Aero – LFO Tool (5:23)
05. Excision and Datsik – Deviance (4:32)
06. Skrillex – Scary Monsters And Nice Sprites (Zedd Remix) (5:57)
07. Moguai featuring SOFI – Beat Of The Drum (7:19)
08. James Njie – U-Turn (9:32)
09. James Njie – Anti Crisis (7:24)
10. Al Bizzare – Blast Wave (6:51)
11. Al Bizzare – Blast Wave (Drums) (0:30)
12. Al Bizzare – Blast Wave (Sub Bass) (0:30)
13. Al Bizzare – Blast Wave (Wah Bass) (0:30)
14. Al Bizzare – Blast Wave (Lead 1) (0:30)
15. Al Bizzare – Blast Wave (Lead 2) (0:30)
16. Al Bizzare – Blast Wave (Piano) (0:30)
17. Al Bizzare – Blast Wave (End Bass Lead) (0:30)
18. Al Bizzare – Blast Wave (Breakdown Bass) (0:30)
19. Al Bizzare – Blast Wave (Breakdown Lead) (0:30)
20. Al Bizzare – Blast Wave (Breakdown Pad) (0:30)
21. Al Bizzare – Blast Wave (FX 1) (0:30)
22. Al Bizzare – Blast Wave (Special FX) (0:30)
23. Al Bizzare – Blast Wave (Synth FX) (0:30)
24. Datsik, Excision – Deviance (Bass Section 1) (0:27)
25. Datsik, Excision – Deviance (Bass Section 2) (0:27)
26. Datsik, Excision – Deviance (Build Up) (0:27)
27. Datsik, Excision – Deviance (Hats) (0:13)
28. Datsik, Excision – Deviance (Melody 1) (0:14)
29. Datsik, Excision – Deviance (Melody 2) (1:06)
30. Datsik, Excision – Deviance (Vocals) (0:04)
Deadmau5 - Lost In Space (Feed Me Remix)
Hooking you up with some hardcore electro, dubstep and DnB for your listening pleasure.
Oh and Laidback Luke's WMC live set? why not.