Apologies for the absence of yesterdays post, computer decided to die on me, full reinstall the lot...
Anyway, following on from my last post, todays beats come from Tom Watson. A somewhat underrated and overlooked producer hailing from Nottingham, Watson was one the first to embrace the (at the time) upcoming LA beat scene and it's influence. He first came to my attention when, under his Keaver & Brause moniker, he released his debut album 'The Middle way'. The album encapsulated the hazy and nostalgic detuned synths reminiscent of Boards of Canada, that his label mate Lone also came to be known for, although in my opinion he shows a more creative approach to percussion and sample manipulation on this album than Lone's earlier work.
Following on from the minor success of The middle way , Watson formed a collaboration with Lone in the form of Kona triangle. Releasing the 13 track album Sing a new sapling into existence in 2009, it received heavy plays from the likes of Teebs and Dublab.com. The album seemed to focus more on composition and atmosphere rather than just purely hiphop beats, some tracks having little or no percussion at all.
Anyway, following on from my last post, todays beats come from Tom Watson. A somewhat underrated and overlooked producer hailing from Nottingham, Watson was one the first to embrace the (at the time) upcoming LA beat scene and it's influence. He first came to my attention when, under his Keaver & Brause moniker, he released his debut album 'The Middle way'. The album encapsulated the hazy and nostalgic detuned synths reminiscent of Boards of Canada, that his label mate Lone also came to be known for, although in my opinion he shows a more creative approach to percussion and sample manipulation on this album than Lone's earlier work.
Following on from the minor success of The middle way , Watson formed a collaboration with Lone in the form of Kona triangle. Releasing the 13 track album Sing a new sapling into existence in 2009, it received heavy plays from the likes of Teebs and Dublab.com. The album seemed to focus more on composition and atmosphere rather than just purely hiphop beats, some tracks having little or no percussion at all.
Which brings us to his latest effort that sees him creating a cleaner, more uptempo & percussion heavy sound for the 3rd release on Lone's Magic Wire imprint ,under the name 'Neon Jung' Still with the same hazy & shimmering synths but with a more cohesive and dance floor oriented sound, taking influences from house and grime. Personally i'm really feeling this new direction he is going in and hopefully he will be releasing a lot more in the future.
Lastly, it's pissing down with rain here, hope you're all experiencing better weather, peace.



