Simon Field’s journey in music began with a passion for the underground house scene, inspired by pioneers like Frankie Knuckles and Carl Cox. He established Basement Records as a platform for his music, free from commercial constraints, focusing on the raw and unfiltered energy of underground house music. This ethos is also reflected in his Basement Sessions, a club series in Oslo dedicated to celebrating the underground sound.
Recent years have seen Field release a series of impactful tracks and collaborations. His album “Need No Music,” released in late August 2023, includes standout tracks like “WORK!” and “Let This One Ride.” Field’s approach to production involves a meticulous process of testing unreleased material in clubs to gauge audience reactions, ensuring each track resonates on the dancefloor.
The release of his new album Panda marks another significant step in Field’s journey. Across nine distinct, meticulously produced house tracks – including collaborations with Delphi Drive, Blichfedlt and others – Field invites you into his deeply personal yet highly relatable world.
We spoke to Simon ahead of the album release later this month.
How do you see the evolution of house music, and where do you think it’s heading in the next few years?
I’ve been around long enough to see that it all goes in cycles, with various subgenres calling themselves house. Melodic and progressive house have taken the role that tropical house used to hold. Personally, I find it equally boring and not really house music. It has very few historical elements from where it all originated – musically, production-wise, and in terms of how it’s performed and consumed. However, I see something really interesting coming out of minimal house, deep tech, and what we used to call deep house. I honestly think we’re going to see more from that corner of Beatport.
What role does technology play in your production process, and are there any new tools or techniques you’ve recently adopted?
I go with the flow in terms of technology. I get excited at first but often end up doing what I have always done. I look for workflow-enhancing tools, like sample library analysis tools, but also for recreations of tools I know in hardware. AI has been with us for many years already, with VSTs like Atlas (Algonaut) and “random” musical compositions going all the way back to the Roland TB-303. At the end of the day, the best ideas come when I’m away from the blinding light of the screen, back with my beloved analogue synths.
Can you describe a typical day in the studio when you’re working on a project like Panda?
The tracks for Panda started taking shape about a year ago, and it comes from pushing myself mentally and workflow-wise. Typically, I would jam ideas on Maschine. I can work really fast with that beast without looking at screens. I’ve set up my workflow to easily sample from hardware synths. I usually lay down ideas in the first part of the day: 1-3 quick 8 to 16 bar grooves. As soon as I feel the need to tweak anything, I render it and leave it. During out-of-studio time, I listen through ideas and make to-do lists of how to progress them. That way, I have to-do lists for the rest of the day while keeping ideas in their rawest form. This method keeps me structured and prevents initial ideas from being ruined by overproduction. The only downside is that I have too many ideas.
What do you hope listeners take away from Panda, both on the dance floor and in their personal listening experiences?
First of all, it’s a club record, so if the tracks make it into Rekordboxes around the world and are being played, I am truly happy. I have already seen a list of huge DJs who have started playing tracks from the album, so hopefully, it will spread that way. As all the tracks are deep house, minimal to house leaning, I hope people will put their phones down (after Shazaming), close their eyes, and dance. Ideally, dancing around like pandas. The name “Panda” also reflects the times we are in, so there is a hint of environmental concern there.
How do you approach blending various musical influences while still maintaining your unique sound?
Several elements go into that. First, they fill gaps in my sets – places where I want to take people. They are tailored to my preferred playing style or club night. Working fast also helps: if you don’t start thinking about how other producers would solve this or that, you listen to your heart rather than reference tracks and the most enjoyable of all – the shoulder devil. Making my own sounds obviously also makes a difference.
Can you share any behind-the-scenes stories or moments that were particularly memorable during the making of Panda?
I met Delphi Drive on a tour, and we talked about all the DJs that are really not DJs. At least they are in music for totally different reasons than I am. I recorded a video of Delphi in the elevator joking about “she’s not a DJ” and that “everyone has a problem with it.” The sound from that video is actually the spoken-word on the track “Not a DJ.”
What are some of the biggest challenges you’ve faced in your career, and how have you overcome them?
There are too many to list in this interview. One recent challenge is creating content. I have spent an insane amount of time practicing talking to the camera and editing videos. It feels like a never-ending story. I have even taken courses. But to be fair, it has helped me in many ways. I feel my socials are slowly starting to feel like me.
How do you stay connected to the underground house scene while achieving mainstream success?
I absolutely love playing live, and the scene in Oslo is welcoming. I try to keep at least a gig every second week in underground clubs and frequently go to the same venues. I also have several upcoming collabs with DJs from the underground scene in Oslo. This keeps my feet on the ground and reminds me of my heritage.
What advice would you give to emerging artists looking to break into the electronic music scene?
Be yourself and don’t follow commercial trends. The people on top got there for a reason, often due to unique musical choices. The business is all about people, so travel and invest time in the scenes you want to be part of. It’s brutal, but you cannot be part of a scene in a town if you’re not there frequently. Be humble and patient. Breaking into a scene is a 5-10 year-long project.
How do you maintain your creative energy and inspiration amidst a busy touring and production schedule?
For me, the more I work, the more creative I become. Important gigs give me a good reason to make new tracks or try out new stuff. Also, my workflow helps: that little dopamine kick you get when I finish a 16-bar loop that works, and I can put it away and say, “I’ve made something today” – in contrast to projects that take weeks to finish.
Panda is out 16 August on Basement Records