Glasgow born electronic music pioneer Vince Watson reflects on three decades in the scene, his creative process and the philosophy behind his timeless melodic sound.
Few artists in electronic music have maintained the level of consistency and musical identity that Vince Watson has built over the past three decades. From his early experiments in the 90s to a catalogue that now spans hundreds of releases, the Glasgow born producer has carved out a distinctive space between melodic techno, deep house and sophisticated electronic composition.
With releases on labels such as Ibadan Records, Yoruba Records and his own Everysoul Audio imprint, Watson’s music has become synonymous with emotional depth, elegant chords and uplifting melodies designed for both the dancefloor and deeper listening.
Celebrating thirty years in the electronic music landscape, Watson continues to evolve while staying true to the musical principles that have defined his career. With a vast discography that includes albums, EPs and collaborations with some of the most respected names in the scene, his influence remains firmly embedded in the global house and techno community.
We caught up with Vince to talk about his early inspirations, studio philosophy and the journey that has shaped one of electronic music’s most enduring careers.
1. Vince, thanks for taking the time to speak with us. Where in the world are you right now and what does a typical day in the studio look like for you these days?
Right now I’m in the middle of too many things in Amsterdam, but no complaints. Between planning the next three vinyl releases, getting the new website up and running and preparing for my students’ end concerts, there is a lot happening. But there always is.
2. Let’s go back to the beginning. What first sparked your interest in making electronic music and what were the early records or artists that shaped your sound?
My mum used to play The Police and Jean-Michel Jarre in the car. That was the hook. Curiosity took over and then I ended up at an under 18’s party in Glasgow to see MC Duke rapping, but during the break the DJ played Rhythim Is Rhythim ‘It Is What It Is’. That was it, rabbit hole entered.
After that it was Music Technology magazines, endless trips to the downstairs level of Sound Control in Glasgow and spending time around the gear. A certain Marco Bernardi from Elevator Sound in Bristol had just started working there, which meant I took a lot of stuff home.
3. You started producing at a very young age. Looking back now, what were some of the key moments that helped shape the path from those early experiments to becoming the Vince Watson we know today?
Being part of that original tech-house scene in the UK at such a young age was both a blessing and a curse. I was too young and susceptible to stick to one thing and do it well, so I went all over the place. When that era ended I somehow managed to be too house for the techno crew and too techno for the house crew.
In the end I just said forget it, I’m doing my thing that I love and I don’t care. I still use that ethos today, probably more than ever. The chase to keep up and the endless battle to follow the crowd is not how I ever wanted to live my musical journey. Happiness comes from doing what you love and I’m blessed to be able to do that 24/7.
Another important thing was hearing some of the true OGs in house and techno playing my music. Derrick May and Joe Claussell are two that immediately come to mind. Those moments of pride still mean something today.
4. Your music has always had a strong musical identity, particularly with piano, chords and melodic structures. Were there particular artists or scenes that pushed you towards that more emotive side of electronic music?
I’m deeply inspired by many musicians in electronic music. I mentioned Jarre before, he was one of the first, but not long after came Larry Heard, Mad Mike, Carl Craig, the original Black Dog and the B12 IDM material.
That music provoked something in me and challenged me internally to make music that could give people the same feeling their music gave me. I’m not that great at piano playing, I’m okay, but exploring chords and harmonies in the studio is where I found my strengths.
5. Over the years you’ve moved through different styles of techno, house and more musical electronic forms. How important has evolution been in keeping your creativity alive?
I don’t really see it as evolution. Moving between genres and styles has been more about exploration to find the styles I want to create in.
Within each of those styles I have evolved over time. I’ve deliberately kept clear divisions between my projects in terms of sound, which allows me to express creativity in a very distinct way. It also lets me focus deeply on one style for long periods before moving on to the next. You could say there are three or four evolutions happening at the same time.
6. Your productions often feel very composed and musical while still being powerful on the dancefloor. When you sit down to start a new track, what usually comes first for you, the rhythm or the melodies?
For Vince Watson tracks it’s always the motifs. I’ll noodle around until I find a groove or rhythm in a sound first, then I’ll lay down a kick and a closed hat and start building around the musical idea. The drums usually come afterwards.
For Amorphic tracks it’s more about sound design first. I build the atmosphere, layer everything together and then move onto the heavy low end. After that I build small live jams with the parts, record the takes and choose the best ones or edit them together. Finally the drums get recorded live.
7. One of your most sought after records is now finally getting a repress after the original 2015 release on Yoruba Records. What made now the right time to bring this track back on vinyl?
I actually never saw a copy of ‘Eminesence’ on vinyl, sadly. A mishap, sometimes it happens. Last year I asked Osunlade if we could finally do a repress since it’s almost ten years old.
Before the deal was complete he kindly returned the rights of the track to me early so I could release it myself on Everysoul. That was a pretty great deal in my eyes.
8. The new version has been remastered and released on your own label Everysoul Audio. How important was it for you to revisit the mix and give the track a fresh sonic treatment?
When I made the original I was in the middle of moving house, so I essentially had no studio except my laptop and a few small bits. I was never fully happy with it.
When the chance came to revisit it I was really happy to freshen it up. I’m glad I did because it fixes all the little things I hated that nobody else hears. It’s now tighter, brighter and the kick is better.
9. The release also includes a new dancefloor version of ‘Reach For The Sun’, originally from your album Every Soul Needs A Guide. What inspired you to return to that track?
‘Reach For The Sun’ was a track I always wanted to revisit but never found the right moment for. This felt like the right time.
I loved the chords and jazzy vibe but on the original album it was a broken beat track and sounded a bit thin. I wanted to make it more lively but without using a huge booming kick, so I focused on a slick bassline as the main low-end element. I always loved the track and now I’m really happy with how it turned out.
10. Your music often carries uplifting melodies and emotional depth. Do you consciously aim to create that feeling?
I’m always searching for those killer combinations. It’s not something I’m naturally gifted at and my piano skills aren’t quite at the level of someone like Jon Dixon or Crackazat, but I manage pretty well.
I’m always trying to find harmonic moments that give you goosebumps. Sometimes it happens naturally when sketching ideas and sometimes it’s more deliberate. This year I actually started piano lessons again so that I can play live piano better in the future.
11. After such a long and respected career, are there still musical territories you feel you haven’t explored yet?
There are definitely some itches that haven’t been scratched yet.
One of them will happen after the summer when I launch a new artist project focused on IDM and electronica. It sounds like a cross between Boards and Plaid and I’m beyond excited for it because I think it might be the most accomplished productions I’ve ever made.
The other one is drum and bass… but I’ll leave that there for now.
12. Finally, what can fans expect next from Vince Watson in the months ahead?
Following the ‘Eminesence’ repress there will be a big summer release called ‘The Awakening’, which will include a new edit of ‘Flashback’. After that there will be some major ‘Eminesence’ remixes coming.
For Amorphic there will be more releases on the Morph and Amorphic labels, plus a four track EP with three of my former mentor students. That’s something I always dreamed about doing when I started teaching and now it’s happening with Argie, MYRA and Vera Grace.
And then there’s the IDM project. September will reveal everything.
Follow Vince Watson here and go buy his new EP ‘Eminesence’ here.
