History Sandbox / Tre

''[[Music/FeedMe Love, don't let me drown, why did you take our sail down?]]''

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[[caption-width-right:350:Love is all they got.]]

Jon Gooch (born August 22, 1984) is a British electronic music producer, best known under the aliases Feed Me and Spor.

Gooch first started releasing music under the Spor name in 2004. The project's propulsive, moody take on [[DrumNBass drum 'n bass]] and early neurofunk made him a cult favorite in the scene, releasing singles on influential labels like Lifted, UKF and [[Music/{{Noisia}} Vision Recordings]] and contributing remixes for artists like Basement Jaxx and Music/{{Muse}}.

Feed Me, Gooch's most popular project, emerged in 2008 as an outlet for his [[ElectroHouse electro house]] and {{dubstep}} work, debuting with the track "Mordez Moi." His first three [=EPs=] under the name, ''Feed Me's Big Adventure,'' ''To the Stars'' and ''Feed Me's Escape From Electric Mountain,'' established the project's energetic sound and propelled him to popularity in the scene with some help from Music/{{deadmau5}} and his label mau5trap.

Gooch would go on to start a label of his own, Sotto Voce Records, where he would release his first full-length album under the Feed Me name, ''Calamari Tuesday,'' in 2013, and a Spor album called ''Caligo'' in 2015. Each project's broad intent has remained intact over the course of his discography, but over time Gooch's output as Feed Me adopted more experimental edges in line with his work as Spor (albeit with a more melodic twist), while his Spor work has adopted a level of production polish recognizable in his Feed Me tunes -- the natural end result of switching between the two projects.

After several more [=EPs=] under the Feed Me name, Gooch returned to mau5trap for the project's second album, ''High Street Creeps,'' in 2019. He'd follow it up with a string of singles before releasing a [[SelfTitledAlbum self-titled third album]] in 2021.

Gooch's [=DnB=] releases proved more [[{{pun}} sporadic]] in the later 2010s, but the producer returned to his roots with the ''Black Eyed'' EP in 2016, the ''Anachronic'' EP four years later, and the ''Cave'' EP on mau5trap in 2022.

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!!Discography:

'''as Spor''' [[note]]The bulk of Gooch's releases as Spor in the 2000s were singles; for the sake of brevity, this list only includes [=EPs=] and full albums.[[/note]]
* ''Tactics'' (2005)
* ''Supernova'' (2008)
* ''Breathe In, Scream Out'' (2008)
* ''Conquerors & Commoners'' (2010)
* ''Pacifica'' (2011)
* ''Caligo'' (2015)
* ''Black Eyed'' (2016)
* ''Anachronic'' (2020)
* ''Cave'' (2022)

'''as Feed Me'''
* ''Feed Me's Big Adventure''
* ''To the Stars''
* ''Feed Me's Escape from Electric Mountain''
* ''Calamari Tuesday'' (2013)
* ''Feed Me's Psychedelic Journey'' (2014)
* ''A Giant Warrior Descends on Tokyo'' (2015)
* ''Feed Me's Family Reunion'' (2016)
* ''Feed Me's Existential Crisis''(2017)
* ''High Street Creeps'' (2019)
* ''[[SelfTitledAlbum Feed Me]]'' (2021)

!! Tropes

* IdiosyncraticEpisodeNaming: Five of the Feed Me [=EPs=] use "[[CharacterNameAndTheNounPhrase Feed Me's ____]]" as the title format.
* IHaveManyNames: Best known as Feed Me and Spor, but has also teased some work under the name Seventh Stitch.
* LimitedLyricsSong: Rather common among his more instrumental-focused work.
* MadnessMantra: Exemplified in the Kill the Noise collab "I Do Coke," taken from an infamous anti-drug PSA:
-->''I do coke''
-->''So I can work longer''
-->''So I can earn more''
-->''So I can do more coke''
* MetalBandMascot: Less metal and more EDM, but Feed Me (the little green monster) serves much the same purpose for Feed Me (the production alias), showing up on the vast majority of releases under the name [[note]]he's missing from the cover to "Mordez Moi" and only shows up in logo form on the cover to "Little Space"[[/note]].
* NewSoundAlbum: Each Feed Me album keeps the dubstep and electro house leanings as a foundation to build upon:
** ''Calamari Tuesday'' takes a kitchen sink approach, bringing in shades of electropop, R&B and glitch hop.
** ''High Street Creeps'' sticks with progressive and electro house for the most part, but handles its vocal features and production with a higher theatricality to it than most other Feed Me fare.
** ''Feed Me'' cuts all but two external features (one with longtime collaborator Tasha Baxter), putting a larger focus on Gooch's production work and implementing some synthwave elements alongside his classic sound.
* RenaissanceMan: Much like [[Music/{{deadmau5}} his rodent counterpart]], Jon handles or is otherwise involved in almost every element of both Feed Me and Spor, from the music itself to the cover art, video production and live visuals.
* RobotWar: "Death by Robot," naturally.
-->''Newsflash, newsflash''
-->''They say robots are coming to tear us apart''
-->''They'll be landing on Earth tomorrow''
-->''So we better get a good head start''
-->''No time to pack our things''
-->''Take our bikes and ride for the setting sun''
-->''As the city around us burns''
-->''We'll be taking them on one by one''
* SelfDeprecatingHumor: Present in a few songs by way of sample choice.
** "Grand Theft Ecstasy" closes out with a man slurring "What happened to music? Now these people are making songs that I don't even consider music anymore..."
** "One Click Headshot" opens with this exchange:
-->'''Woman:''' Do you like his music?
-->'''Kid:''' No!
* SameFaceDifferentName: [[InvertedTrope Inverted]]. Gooch's original musical project was his [=DnB=] output as Spor, while his experimental work as Seventh Stitch and his dubstep/electro house as Feed Me came about later on. When he reached mainstream popularity within the electronica scene, it was under the latter name, in similar fashion to how fellow mau5trap artist Joey Youngman reached a wider audience as Wolfgang Gartner than under his birth name.
* ShoutOut:
** "Frank Frazetta" is called that because [[Creator/FrankFrazetta the man himself]] is one of Jon's primary influences on the visual side.
** "Money, Destiny" opens and closes with the phrase "[[WebVideo/ContraPoints opulence is the aesthetic of abundance]]."
* StupidStatementDanceMix: "One Click Headshot" samples a video of [[https://www.youtube.com/watch?v=ovsVU6mktOw FPS Doug hitting headshots in Counter-Strike]] to great effect. A decade later
* SurprisinglyGentleSong: Seeing the names "Feed Me & Kill the Noise" wouldn't typically bring to mind the idea of a children's choir and a sweet nursery rhyme-esque sound, but "Far Away" puts both elements to great use alongside drops more in line with what listeners would typically expect. The cover art and [[https://www.youtube.com/watch?v=KTvfwd3JZTE music video]] are both designed with this in mind, with the latter using two art styles for its animation: cute, childlike drawings for the opening and closing, tripped out Adult Swim-like psychedelia for the center.

Gooch's [=DnB=] releases proved more [[{{pun}} sporadic]] in the later 2010s, but the producer returned to his roots with the ''Black Eyed'' EP in 2016, the ''Anachronic'' EP four years later, and a currently untitled release on mau5trap in 2022.

* SameFaceDifferentName: [[InvertedTrope Inverted]]. Gooch's original musical project was his [=DnB=] output as Spor, while his experimental work as Seventh Stitch and his dubstep/electro house as Feed Me came about later on. When he reached mainstream popularity within the electronica scene, it was under the latter name, in similar fashion to how fellow mau5tap artist Joey Youngman reached a wider audience as Wolfgang Gartner than under his birth name.

* TribalFacePaint

''[[{{Music/ODESZA}} I heard the news today that you weren't mine to keep]]''

ODESZA is an electronic music duo comprised of producers Harrison Mills and Clayton Knight. Originally starting off with their own solo aliases ([=CatacombKid and BeachesBeaches,=] respectively), the pair started collaborating on music in 2012, during their senior year in college at Western Washington University in Bellevue, WA.

With a name inspired by a sunken ship once owned by Mills’ uncle, their first release, the album ''Summer’s Gone,'' was self-released by the duo in September 2012 not long after the band’s initial formation. Early success online as part of the then-burgeoning chillwave scene led to Mills and Knight’s commercial breakthrough with ''In Return'' in 2014, with singles like “Sun Models,” “Say My Name” and “All We Need” propelling them to the upper echelons of electronic acts.

Mills and Knight launched their own record label, Foreign Family Collective, in 2015. The same year saw ODESZA launch an elaborate live show building on the duo’s work on ''In Return'', with a full marching band accompanying them on stage at festivals like Coachella and Bonnaroo. The band kept the momentum going with a new album, ''A Moment Apart,'' in 2017. Singles like “Line of Sight” and “Late Night” continued the last album’s sonic trajectory, but the duo would also dabble in new sounds on the record, collaborating with artists outside of electronica like Leon Bridges and Music/ReginaSpektor and integrating the live band elements in some of the tracks included on the album’s [[UpdatedRerelease deluxe edition.]]

After touring for nearly two years in support for ''A Moment Apart'', Knight and Mills announced in 2020 that they would be forming supergroup BRONSON with fellow producer and friend Golden Features. BRONSON’s self-titled record released in August of that year, with a much darker, house and bass-influenced sound than the band’s usual fare.

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!!Discography
* ''Summer's Gone'' (2012)
* ''My Friends Never Die'' (EP, 2013)
* ''In Return'' (2014)
* ''A Moment Apart'' (2017)
* ''BRONSON'' (2020; with Golden Features, as BRONSON)
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!!''It's only water, it's only fire, it's only tropes''
* ABoyAndHisX: The music video for "Line of Sight" is part of the proud tradition of the "boy and his robot buddy" pantheon, [[spoiler: complete with the robot heroically sacrificing their own life to save their friend.]]
* AlbumClosure: With lyrics about embracing love, a cinematic sense of scale and closing out with [[BookEnds a sound taken from the opening track]], "Corners of the Earth" is one for ''A Moment Apart.''
* AlbumIntroTrack:
** ''Summer's Gone'' opens with a sample from a 1957 BBC program titled "[[https://www.youtube.com/watch?v=ol7XpcDsSHw Public Dreams and Private Nightmares]]," a 'radiophonic poem' that exemplifies some of the broadcaster's early experimentations with electronic sound production and synthesis.
** ''A Moment Apart'' starts with an abridged audio clip of the [[https://www.youtube.com/watch?v=eOU0JhkHY3w cosmonaut scene]] from ''Film/AnotherEarth''.
* {{Ambient}}: The duo's work has shades of this, but could probably be better described as indietronica or chillwave when taken as a whole. Some of their more understated tracks, like "Kusanagi," can be considered straight examples.
* BookEnds: The last track on ''A Moment Apart'''s original release, "Corners of the Earth", fades out to just the tapping from the same ''Another Earth'' scene that opened the album.
* EpicInstrumentalOpener: The title track on ''A Moment Apart'', which landed a spot as the opening tune for ''VideoGame/{{Forza}} Horizon 4'' with its moments of bombast and calm in equal measure.
* IdiosyncraticCoverArt: ''Summer's Gone,'' ''In Return'' and ''A Moment Apart'' share a unified aesthetic: distant photos of people against dramatic, gradient-heavy backgrounds, with the band's name and the title of the album rendered in a geometric sans-serif typeface. Of the three, only ''Summer's Gone'' lacks the icosahedron logo.
* TheInvisibleBand: Nowhere to be found in most of their music videos.
* LongestSongGoesLast: All three of their albums plus ''BRONSON'' play this straight.
* NewSoundAlbum: ''BRONSON'' doesn't completely abandon the duo's hallmark ethereal sounds, but it does mark a turn into deep house and electro vibes that were more clearly established with collaborator Golden Features' prior work. Songs like "LOYAL" and their VIP remix of "It's Only" foreshadowed this shift, as did their live shows during the ''A Moment Apart'' era.
* OrangeBlueContrast: Both versions of ''A Moment Apart'''s cover art: bright glowing orange line across a darkened blue landscape. Some of the accompanying singles, like "Line of Sight," "Late Night" and "Across the Room," also follow the trend.
* OnASoundstageAllAlong: The video for "Say My Name" pulls this trick, but at its midpoint rather than at the end. We're introduced to a couple that shares a loving kiss and listens to the song while jumping into a pool together, but as the second verse starts, the whole thing is revealed as a music video shoot, with the girl having genuine feelings for her co-star that [[AllLoveIsUnrequited aren't reciprocated.]]
* RemixAlbum: They've put out a few for the bulk of their discography. "All We Need" takes the cake with ''fifteen'' separate remixes on its own album (and a radio edit), outnumbering its parent album by three tracks and ''thirty minutes.''
** They also make appearances on several of these for other artists, including Music/PorterRobinson with their remix of "Divinity" from ''Worlds'', Music/{{Sia}} with their take on "Big Girls Cry" from ''1000 Forms of Fear,'' and their remix of "Break the Rules" for Music/CharliXCX.
* TitleTrack: "A Moment Apart" and "My Friends Never Die."
----

* BookEnds: ''A Moment Apart'' starts with an abridged audio clip of the [[https://www.youtube.com/watch?v=eOU0JhkHY3w cosmonaut scene]] from ''Film/AnotherEarth''. The last track on the record's original release, "Corners of the Earth", fades out to just the tapping from that scene.

After touring for nearly two years in support for ''A Moment Apart,'' Knight and Mills announced in 2020 that they would be forming supergroup BRONSON with fellow producer and friend Golden Features. BRONSON’s self-titled record released in August of that year, with a much darker, house and bass-influenced sound than the band’s usual fare.

! Discography

! ''It's only water, it's only fire, it's only tropes''
* BookEnds: ''A Moment Apart'' starts with an abridged audio clip of the [[https://www.youtube.com/watch?v=eOU0JhkHY3w cosmonaut scene]] from Another Earth. The last track on the record's original release, "Corners of the Earth", fades out to just the tapping from that scene.
* EpicInstrumentalOpener: The title track on ''A Moment Apart'', which landed a spot as the opening tune for ''VideoGame/ForzaHorizon 4'' with its moments of bombast and calm in equal measure.

* RemixAlbum: They've put out a few for the bulk of their discography. "All We Need" takes the cake with ''fifteen'' separate remixes on its own album (and a radio edit), outnumbering its parent album by three tracks and ''thirty minutes.''

Mills and Knight launched their own record label, Foreign Family Collective, in 2015. The same year saw ODESZA launch an elaborate live show building on the duo’s work on ''In Return'', with a full marching band accompanying them on stage at festivals like Coachella and Bonnaroo. The band kept the momentum going with a new album, ''A Moment Apart,'' in 2017. Singles like “Line of Sight” and “Late Night” continued the last album’s sonic trajectory, but the duo would also dabble in new sounds on the record, collaborating with artists like Leon Bridges and Music/ReginaSpektor and integrating the live band elements in some of the tracks included on the album’s [[UpdatedRerelease deluxe edition.]]

After touring for nearly two years in support for ''A Moment Apart,'' Knight and Mills announced in 2020 that they would be joining supergroup BRONSON with fellow producer and friend Golden Features. BRONSON’s self-titled record released in August of that year, with a much darker, house and bass-influenced sound than the band’s usual fare.

''hee yaw''

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-->"You are a NINJA TABLET. ‘Nuff said."


[[AfterTheEnd It's the future, and humans are all but completely wiped out]]. These days, society is mostly made up of robots instead, and a civil war's broken out between the megalomaniacal AI Lemonkus and the resistance fighters hoping to keep it from taking over what's left. It's a losing battle for the freedom fighters, and all seems lost until one tablet-faced robot named TBY-1143 comes to life in a mysterious lab...

Nicknamed Tabby, the robot's a quirky little fella with a wicked fighting spirit, tearing through Lemonkus's forces with insane speed and style. As Tabby expands their arsenal and explores the mechanical world around them, it'll all fall on one robot to bring the fight to Lemonkus and save everyone left from extinction.

''KUNAI'' is a {{Metroidvania}} game by Dutch indie studio [=TurtleBlaze,=] released in early 2020 for PC and Nintendo Switch by The Arcade Crew. Much of the gameplay focuses on Tabby's weapons and movement, with a fast-paced vibe, a pixel art style making the most of a limited color palette, and most importantly, a ''robot ninja with grappling hooks.''

----

* AdvancingBossOfDoom: The fight against [[spoiler: the Popo]] in Robopolis is more or less an extended platforming sequence.
* AIIsACrapshoot: Perhaps not exclusively -- folks like Tabby, the Chief and Earl seem to be perfectly fine as far as morals go -- but Lemonkus serves as an example of how one's programming in the game's 'verse could go ''spectacularly'' wrong.
* AndYourRewardIsClothes: A fair chunk of the collectible bonuses in the game are H.A.T.S., which are precisely what they sound like -- alternate pieces of headgear for Tabby.
* BossSubtitles: Each major foe you face gets this treatment, as well as every weapon and ability Tabby earns throughout the game, with one exception: [[spoiler: when you grab Lemonkus's scythe for your own use]] during the final fight.
* EquipmentUpgrade: Every weapon in Tabby's arsenal can be upgraded, from pure damage boosts for your sword all the way up to [[MacrossMissileMassacre charged missile barrages]] for the rocket launcher.
* EveryoneCallsHimBarkeep: Chief never gets a given name, pretty much exclusively just being referred to as "Chief."
* GrapplingHookPistol: Less "pistol" and more "farming tool," but the eponymous kunai Tabby wields serve this purpose.
* GreatEscape: [[spoiler: Tabby gets thrown in jail by the cops in Robopolis.]] [[BroughtDownToNormal You temporarily lose all of your gear]], with nothing but a single new ability -- [[spoiler: the dash]] -- to make your way out.
* GunsAkimbo: The [=twin SMGs=], natch. The pair work together as a single weapon and take up just one spot in Tabby's weapon switch as well.
* HeartContainer: Upgrades for Tabby's health are peppered throughout nooks and crannies in most of the game's levels. Collecting four of them expands your bar by a short segment.
* InterfaceScrew: The penultimate sequence goes ''hard'' on the glitch effects. [[spoiler: To initiate the last level of the game before fighting Lemonkus, Tabby has to purchase an unusual upgrade from the Wi-Fi hotspot on the moon, which manifests as a virus that pulls the player into a set of fights within Tabby's memory.]]
* KungFuProofMook: Some enemies you encounter later on in the game, including the blindfolded Samuraibots and the bulky, blade-wielding fellas in the mines, are all but immune to Tabby's sword, requiring either judicious timing with the focus ability or ''heavy'' firepower from the [=SMGs=] or the rocket launcher.
* {{Metroidvania}}: Aside from the two airship levels and the final sequence in space against Lemonkus, the entire game is set in an interconnected set of levels.
* MoneySink: While potent, upgrading Tabby's sword from the Blacksmith in the Abandoned Subnet is ''significantly'' more expensive than comparable boosts to your other items, with prices in the thousand-coin range rather than several hundred.
* RecurringTraveler: Somehow Tabby can't get far without the Resistance's resident IT robot, Earl, showing up alongside the levels' Wi-Fi routers/shops. In a way, he's the game's closest equivalent to an IntrepidMerchant.
* RobotSoldier: A fair chunk of the enemies you fight are these, purpose-built for the war by Lemonkus.
* SingleStrokeBattle: While [[spoiler: the Lemonkus fight]] is ''not'' one of these, it does end this way, with Tabby landing after getting in one last cut with [[spoiler: the AI's own scythe]] before it explodes. Considering the fight beforehand, it's a cathartic sight indeed.
* SlidingScaleOfLinearityVsOpenness: The game is a 4, keeping the {{Metroidvania}} setup through and through.
* StockNinjaWeaponry: As one could reliably expect from the title, Tabby's arsenal is made up of a mix of these and [[StandardFPSGuns more modern implements]].
** The first things players get their hands on, naturally, are [[KatanasAreJustBetter a katana]] and a pair of kunai. The latter are less weapons on their own and more for [[GrapplingHookPistol traversal purposes]], though creative players can still make clever use of them in aerial combat.
** Three guesses for what Tabby scores from the Shuriken Temple, and the first two don't count. You can use them to stun enemies -- opening them up to other attacks -- or to activate switches in several of the game's levels.
* TimeTrial: Just one, but it's a doozy: the Cult of Skebin's challenge, accessible toward the end of the game near Robopolis. Players have to use everything in Tabby's arsenal to navigate the level in a mere ''25 second'' window. Your reward for doing so? [[spoiler: [[InTheHood A hood for Tabby's cloak]] that makes them look like a scaled-down version of Lemonkus, the final boss!]]
* UtilityWeapon: A common theme of the weapons in ''Kunai'' is serving purposes both in and out of combat.
** The twin [=SMGs=] can keep Tabby airborne like a jetpack if the player aims them downward while traveling across long gaps.
** Rocket jumping is an unlockable perk for the rocket launcher, granting an insane jump height compared to what you're capable of without it.
** In the right context, Tabby's ability to focus and rapidly kill enemies with the sword can be used to hop across rooms nearly instantaneously. [[https://www.youtube.com/watch?v=NnZJAEUnMkY Speedruns of the Cult of Skebin room]] use this to great effect.
* ZeroEffortBoss: Tabby faces off against an airship captain twice after said captain sends all his flunkies after you, and [[spoiler: both times he goes down in a single hit]].

** In the right context, Tabby's ability to focus and rapidly kill enemies with the sword can be used to hop across rooms nearly instantaneously. [[https://www.youtube.com/watch?v=NnZJAEUnMkY Speedruns of the Cult of Skebin room]] use this to great effect.

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[[caption-width-right:350:hornse]]

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