Published: 12 Dec 2016

Soaring melodic techno from the UK acid master.

At it since the mid 90s, Neville Watson has been delivering pulsating analogue techno and ravey acid jams under a host of aliases and with a regular stream of collaborators for gun labels like Crème Organization, Clone Jack For Daze, Don’t Be Afraid and Scenery. With KiNK his most notorious partner in crime, the seemingly unlikely pair rolled out a slew of club weapons for Rush Hour’s Hour House Is Your Rush label with tracks like Metropole and The Long Wait becoming instant late night classics. No nonsense from the get-go, his mix moves between deep driving techno and house with a sprinkling of mind morphing acidddd.

Hey Neville, what have you been up to?

Getting my head down in the studio.

You just released a track for Glaswegian label Craigie Knowes on their Second Annual Fundraiser – War Child compilation, with proceeds going to the global War Child charity. Tell us a bit about your connection with the label and this particular project, and who else has contributed to the release?

Max, who runs the label, is a friend of Domenic Cappello from the Sub Club in Glasgow. He contacted me ahead of the first compilation and asked if I’d like to be involved. As a general rule if Dom can vouch for you then you’re in. It’s always nice to get involved in a decent project that helps people, my wife is a fundraiser so I often get to compare people out there actually helping others with a load of whingeing, self indulgent DJs.

The label have pulled in some top quality music for both comps. Oftentimes with charity projects the music can often sound a bit like producers have just donated any old tosh they have languishing on their hard drive, but they really have done a sterling job getting people like Bicep, Asok, Lord of the Isles and Shanti Celeste involved.

We know you’ve also had a close connection with Fabric over the years, playing there regularly and even contributing to the recent #savefabric compilation on their artist-led Houndstooth label. Tell us about your reaction to the recent news of Fabric’s imminent re-opening, and how much do you think the whole #savefabric movement that you were involved with played a part in that?

I think it played a massive part and I think the authorities weren’t quite expecting the degree of backlash that they got, with everyone from celebrities to a young woman whose own brother had died from an ecstasy overdose getting onboard and making their feelings felt. Not to mention clubs all over having fundraisers. The pure fact that fabric were able to raise the money they did to help with the legal fees shows how important the #savefabric campaign was. I also think that in what has been a mental year Worldwide it feels particularly great that people in some small way are able to make an impact on what’s important to them.

What have you been working on in the studio lately, and where have you been finding your inspiration to create new music?

I’ve just finished up remix of Nathan Surreal on Biologic Records, which is a string driven techno thing. Plus I’ve started work on a new album.

I always have a million ideas for music going around in my head and inspiration can come from absolutely anywhere. The important thing though is to work to a schedule, that is imperative in feeding in to any inspiration you might have. If you have an idea and don’t act on it your ideas in general will soon dry up. Waiting for inspiration to strike and the stars to align is for suckers.

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What can you tell us about this mix you’ve put together for us? Who are some of the artists that feature?

It’s gets a little bit more banging than I would normally do for a podcast. I wanted it to be a bit more like the mixes people like Colin Faver and Colin Dale used to have on their shows. They would mix the feeling up, rather than just bang the arse out of it all the way.

There are tracks from the ever mighty Jamal Moss, an unreleased gem from Dom Cappello. A few corkers from Ambivalent, who has had an outstanding year – easily my favourite producer of 2016, and some killer cuts from Semtek, Paul Mac, Matrixxman, Planetary Assault Systems and one of my top tunes of the year from Artefakt on Delsin.

What else is coming up to close out the year?

Fifth Column, my release for Riverette is out right now. Then it’s getting ready for 2017, I’ve got tracks dropping on new Manchester label I Walked By Night and I Love Acid in Jan/Feb. It’s been a bit of a fierce old year so I’m looking forward to descending into mince pie-fuelled debauchery.


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