Tom Wilson grew up just outside of L.A. in the artistic pockets of Topanga Canyon. With parents in the arts/entertainment industry, music permeated his childhood; from chart-topping pop, to psychedelic rock and eventually the jazz that defines his sound all these years later. His teens brought an awareness of the second wave of golden age hip-hop: Eric B. and Rakim, A Tribe Called Quest, and De la Soul forged the tools by which he’d craft his work. Wilson picked up the guitar, then the bass, and finally anything he could get his hands on, putting in his time playing in rock and funk outfits.

Fast forward a decade and a half, and Sweatson Klank who is also known as TAKE is a fixture in L.A.’s burgeoning beat scene, a pioneer in a faction of progressive producers pushing the envelope of modern music technology and sonic artistry. His Sketchbook night laid the groundwork for the vaunted Low End Theory, a West Coast showcase for the most forward-thinking, contemporary artists. As TAKE, he worked with some of the most ambitious labels of the day, including Warp, Ghostly, dublab, Poobah, Eat Concrete and the adventurous Alpha Pup, Klank’s catalog is as diverse as it is poignant. A favorite of BBC1/XFM tastemaker Mary Anne Hobbs, he’s shared the stage with luminaries Flying Lotus, Daedelus, Kode 9, Hudson Mohawke, Just Blaze, TOKiMONSTA, Mary Anne Hobbs herself and countless others. He has also remixed the likes of Flying Lotus, Nosaj Thing, Shigeto, indie darlings CULTS and many more.

From the ashes of TAKE rises Sweatson Klank, a wholly new musical entity. Melding the aural architecture of his earliest influences with a dramatic and futuristic vision, his latest incarnation will make its debut with a slew of new music in 2012.