Get ready to dive into the world of Simon Field, the Oslo-based DJ and producer who’s been making waves in the electronic music scene with his deep, tech vocal house style. With over 350 million streams and releases on top labels like Armada and Universal Music, Field’s journey is rooted in a passion for underground house, inspired by legends like Frankie Knuckles.
His latest album, Panda, showcases his dedication to the craft, featuring nine meticulously crafted tracks that resonate on the dancefloor. As he continues to tour globally and hold residencies in Norway, Simon Field remains a true force in electronic music and we’re very happy to bring you this interview with him before his album lands later this week!
What drew you to the world of dance music initially, and how did you get your start in the industry?
I actually started my music career as a bassist, beginning with jazz and Latin styles, including salsa. I quickly moved into composing and writing. What drew me in was my love of synthesizers. I started DJing on the side as a passion project so I could play all my guilty pleasure tracks. Gradually, this started to influence my productions, and I began to get placements in TV series like Californication with pure house tracks. The club scene back in my hometown of Bergen at that time was practically non-existent, so I didn’t realize there was a larger market out there.
Can you share a memorable moment or early success in your career that solidified your path in dance music?
During a track pitch, the label told me to release a demo “as is.” I replied, “We don’t have an artist,” and they responded, “You be the artist.” That really kickstarted everything, and since then, I’ve exclusively produced house music. I could finally combine my guilty pleasure with my side hustle of DJing. I also think early contact with people like Erick Morillo, Shawnee Taylor, and others in the NY scene made me believe that I could do this.
What sparked the initial concept for Panda, and how did it evolve over time?
My last album was the result of making a new track for each festival gig, which led to Need No Music. Panda follows a similar approach, but this time I focused on creating tracks for gigs at my favorite clubs in Oslo, where I currently live. During my residencies, I’ve had the chance to test even short snippets of songs to see how they work in context and to gauge audience reactions. This also gave me a solid feel for the mix when playing ideas on big systems. In this way, the Oslo underground has been a major factor in the development of the album.
The name Panda also symbolizes fragile life and the importance of taking care of our world. So when I managed to work the word “Panda” into a song, I knew that would be the album name. “One More Time (for the Panda)” also became a key track on the album and an important reference track for the final selection.
Which track on Panda holds the most personal significance for you, and can you share why?
They are all very personal and each has a good story behind it. I especially love playing unreleased tracks and watching people try to Shazam them or even climb into the booth to take a picture of the CDJs. I particularly recall the first time I tested “PanAm.” I had the crazy idea to play one of my demos and overlay a snippet of the “PanAm” vocal, and it worked wonders. The guy who came into the booth to catch the screen saw “2024_03_12 Demo” on one screen and “Airplane sketch” on the other. The final track turned out beautifully and really ties together my musical background with old-school Chicago references.
How does Panda differentiate itself from your previous albums in terms of musical direction and experimentation?
I think the vibe of the underground scene in Oslo has been a significant influence on the album, particularly the music from DJs at Jæger, Skaugum, and Villa. This scene is very inclusive and supportive, which has allowed me to dig deeper and take more risks—focusing less on commercial potential and more on how it will work in the club. I’ve gone much more minimal on this album, which allows the core elements of my sound to stand on their own. This is also the first time I’ve been able to play all my tracks at a gig. It may seem strange, but they are noticeably more club-friendly than my previous releases.
What were the biggest influences, musical or otherwise, that shaped the sound of Panda?
I think every track from my childhood to the thousands of tracks in my Rekordbox has had an influence. In terms of musical influences, I would say tracks from artists like Josh Butler, Guy Gerber, Michael Bibi, Dilby, Kyotto, Shermanology, Traumer, Kyle Watson, and Franky Rizardo have been great references for where I wanted to go with Panda. I’d also like to highlight some of the amazing DJs on the Oslo scene, like Blichfeldt.
How do you approach creating a cohesive album experience, ensuring each track contributes to the overall narrative of Panda?
It was a matter of killing my darlings, I think. This spring, I had around 30 demos in the “album-folder” on my Mac. Once I landed on some key tracks—like “PanAm,” “One More Time (for the Panda),” and “Not a DJ”—the rest fell into place, making the selection process easier. A fun fact is that almost the entire album is within the same circle of fifths and can be played as a set—in key. So I guess there was some underlying musical vibe driving me as well.
Looking back, how has your sound developed from your early releases to the tracks on Panda?
The most obvious change is the reduced emphasis on vocals. Vocals have become less important to me over time. The vocals that are on the album, though, are sparse but vital. I also notice that I’m more satisfied with the mixes and sound design, making the album more coherent and allowing it to stand out even on smaller club systems. In terms of overall musical expression, I think the Oslo underground influences are stronger than ever. But then again, I might be the only one who notices this. Haha.
What role did the feedback from your live performances play in the final selection and production of the tracks on Panda?
This has been extremely important. Being able to test demos in my regular clubs has been invaluable in all aspects. When you see a crowd of a couple of hundred people reacting to your track, you know there’s something there.
Can you discuss any particular production techniques or innovations you employed on Panda that you hadn’t used before?
I’ve always been a sucker for analog sounds and synths, and the sounds on Panda are no exception. Nearly all the basic beats were jammed on Maschine until they grooved the way I wanted. In many cases, the hits aren’t even quantized, which I think gives them an even more human feel. When it comes to the synths and bass, I would often play them throughout the track to capture nuances that cut and paste can’t. So, typically, I might not even record MIDI but commit synths directly to audio. This also enables me to work faster. I think this approach particularly shines on the more minimal tracks on the album, where every sound and hit counts, and you can’t hide behind other sounds.
How do you hope Panda will impact your fans and the broader house music community?
I hope the album Panda brings joy and excitement to my fans, giving them something fresh and memorable to enjoy. I also hope it’s unique enough for the broader house music community to find it a source of inspiration and creativity, encouraging others to explore new sounds and ideas. Ultimately, I hope Panda helps bring people together through the love of music.
Panda is out 16 August on Basement Recordings
