How a Career Reset Led to Feed Me’s New EP, a Creative Reawakening

Feed Me's first EP in over six years sees the influential producer do what he does best: transform his music into something entirely new while staying true to his sound.

Out now via Ophelia Records, his stunning Feed Me From The Clouds project paints a vivid soundscape rich with the complexities of his typical production mastery. Throughout each of its four tracks, Feed Me traverses through deeply nuanced electro and progressive house, transporting us to the dark and brooding dancefloors he has long cultivated.

Feed Me From The Clouds is nothing short of a masterstroke. Feed Me expertly weaves a spellbinding latticework of genres and sounds, opening the EP with the room-filling track "Total." The virtuosic Brit turns things around on the ensuing song "Love Control," where a crooning vocal sample floats atop his airy production.

We caught up with Feed Me to discuss his new EP and what lies ahead for the renowned producer. What inspired Feed Me From The Clouds?

Feed Me: Wanting to make the sound I want to hear basically, especially post-Covid. The energy, structures; I love trying to do a set that goes through different environments while staying hopeful, energetic and positive. Feed Me has become buoyant and is floating up to collect advice and magic glyphs from the cloud god. Since your last EP, Feed Me's Existential Crisis, you've released two albums. What made you want to go back to shorter-form releases?

Feed Me: High Street Creeps was very much the product of having a lot of material at once from sessions all over the place, and corralling it all together into something that told a story. Feed Me was a lot more personal, like a lot of artists for me it was a lockdown story and very much an insular experience, buying esoteric equipment, using experimental or vintage techniques.

There's something quite massive feeling about doing albums though, and with more and more new material and ideas building up I wanted to get back to being more episodic. So here's the first result of that.

Feed Me/Instagram When we last spoke, we discussed how 2021's self-titled Feed Me album was a reset for your project. What's changed for you musically since?

Feed Me: Connecting with crowds again, and combining the lessons of that lockdown-detached period of creativity with music for a social environment. It's been a case of finding that point between totally indulgent material and tracks I can do more with in a live setting, that translate in a club or a loop. In addition to musical changes, what else has changed for Feed Me since your reset?

Feed Me: I've taken a lot more on personally, but also become a more efficient and less chaotic person in general, which is probably good news for everyone around me. I'm so fortunate to get to do this, I feel pretty connected to it all lately. I think I've just become increasingly grateful and energized by it all. Your other projects, SPOR and seventh stitch, have been quite busy lately. What more do you have planned for your other aliases at this time?

Feed Me: Launching Seventh Stitch has been a huge catharsis, and I have a great team helping with the logistics. Feed Me is my character, a bit of a mask for mischief, but Seventh Stitch is my diary. I've always needed the two aspects to maintain, but making it public feels different. I'm trying to get a Spor record mastered also. What can fans expect from Feed Me in the near future?

Feed Me: Some collaborations seem to be coming together. Also I have an EP on Sotto Voce, and something else with Ophelia. I didn't see the point in working with a label that's new to me unless it was a case of really being involved and feeling connected with what they do. I respect Ophelia and Jeff [Seven Lions] and their artists and team a lot, it's inspiring to get that sort of contact and really motivating. I bought a really old car to mess around with also so if I go missing something went wrong.

Listen to Feed Me From The Clouds on streaming platforms here.

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