11:11 Artist Spotlight: TAKE
The electronic music world has lifted an interested eyebrow towards the West Coast’s burgeoning beat scene, and Take aka Sweatson Klank has risen to the top as one of the new generation’s finest producers. In a musical landscape that is quickly becoming overcrowded, Take fuses his own brand of future-flung electronics with elements of avant-garde jazz, subharmonic melodies and a mean hip hop bounce.
A multi-instrumentalist and frequency fanatic with ten years of releases and live performance experience, Take’s formula is ever-evolving and his productions clearly sprinkled with his unique sonic vocabulary. Constantly growing, Take uses engaging melodies, non-linear development and a multi-strata slump to communicate a fresh feeling of movement in every track. Embracing his geographic legacy in the thriving LA experimental beat community but still very much his own player, Take makes music that charts its own course through a gurgling fuzz of rich layers and textures. His sound has always been about pushing forward, breaking ground and laying a new path for producers to walk.
Take’s musical catalog includes releases for labels like All City, Eat Concrete, Circulations, Buttermilk, Poobah, Inner Current, Swedish Brandy and Astro Lab, as well as remixes and compilation tracks for the likes of Warp, Plug Research, Power Shovel Audio, Dublab, Circulations, and many others.
Take has been championed on various influential radio programs by the likes of Mary Anne Hobbs, Benji B, Giles Peterson, Carlos Nino, and Garth Trinidad. He has performed at the some of the most highly regarded club nights and festivals around the world such as Low End Theory, Sonar Music Festival and The Loud Minority amongst others. Take has also shared the stage with the likes of Flying Lotus, Ras G, Glitch Mob, SamIYam, Nosaj Thing, Kode 9, Busdriver, Mos Def, Prefuse 73, Mike Slott, Hudson Mohawke and more.
2010 saw the anticipated release of Take’s full-length album, Only Mountain, on the highly acclaimed label Alpha Pup Records on April 20. High in psychedelic pulp and littered with gritty layers of electronic emotion, the new endeavor has been described as “a roiling pot of old school IDM, ’90s R&B percussive elements, dubstep bass-derived doom, and ethereal melodies” by Chris Martins of the LA Weekly.
Describing his music as “rooted in hip hop but on a spaceship headed for a new and better place somewhere out there,” Take may not know exactly where his beats will end up- but he is taking us along for the ride.