Simon Field, a prominent DJ and producer hailing from Oslo, Norway, has made significant strides in the electronic music scene. Known for his signature blend of deep, tech vocal house, Field has amassed over 350 million streams and has released tracks on renowned labels such as Armada, Universal Music, Sony Music Ultra, Perfect Havoc and his own Basement Records.
His new album Panda, will be released later this month: a 9-track collection of fresh new house tracks drawing inspiration from the Oslo underground scene combined with Simon ́s passion for classic Chicago house.
What specific themes or messages did you aim to convey through the tracks on Panda?
As much as I enjoy working on details and sound design, Panda is a club vibe. It’s the sound of a club where I want to go myself. It’s also a homage to my hometown, Oslo, and I have road-tested all the tracks at my favorite clubs. The DJ scene here is amazing, with so many talents, yet there’s still room for everyone.
How did your personal journey and experiences over the past few years influence the creation of Panda?
Before COVID, I was playing 90% or more of my gigs outside of Norway. That all changed during lockdown. Getting back to the local scene was a way to reconnect with my roots, and it has been a truly enjoyable experience. Along with establishing my own club night and label, Basement, I feel truly creatively free. I think this has allowed me to grow. You can probably hear the beginnings of that in my previous album Need No Music, and even more so on this one.
All the tracks follow more or less the same story—starting with chasing a vibe or a void in my set. I could clearly envision what time of the night each one should be played, and the writing is very much with my own style of DJing in mind.
Can you delve into the story behind the album title, Panda, and its significance to you?
We are all concerned about the world we live in—in one way or another. I think the image of a panda will make people stop and think. The panda is definitely a symbol of something that needs protecting, and a symbol for protecting the planet we live on.
The word “Panda” also suggests something playful. When I wrote the track “One More Time,” I added “for the Panda,” and I knew the album was going to be called Panda. I noticed it brought a big smile to my face.
What was the most challenging track to produce on Panda, and why?
I think the industry we’re in is very unfair in many ways, especially when it comes to DJs with no experience, no history, and no skills making it big either by paying their way around or blowing up on social media—or those who show up in bikinis to put on a show. That’s not DJing, in my opinion. I had a chat with Delphi Drive about this on tour, and I recorded our conversation on my iPhone. That video had some great quotes that I knew I had to make a track around. That track is the final one, “Not a DJ.” It took forever to complete, but eventually, we got it right.
How did the collaborations with artists like Delphi Drive and Blichfeldt come about, and what was the creative process like?
These guys are DJs I admire and hang out with a lot in Oslo. We often play the same clubs, so we run into each other all the time. They’ve both pushed me musically, so collaborations were inevitable. What I find with both these tracks is that you can actually hear that we had fun in the studio. We also know each other’s playing styles well, so the creative choices were obvious. I love working with people who bring positive energy to the studio, and they both do—so being in the same room making all the choices together was a breeze.
What elements of classic Chicago house are most prominent in Panda, and how did you integrate them into your sound?
Not to get too technical, but I guess my bass lines are the main ingredients. Obviously, the swing, the jackin’ snare fills, and the production values that bring in more gritty elements are all there. I wanted a more soulful track on the album, so I landed with “PanAm,” which is now the opening track. I think it’s the most traditional house track on the album and showcases where I come from musically.
How did you ensure that the energy and vibe of the Oslo underground scene were captured in the album?
I think it might be the other way around. Going back to my roots, spending time, and playing more in Oslo at the clubs I love brought it all to me. Obviously, being around and hearing all the amazing DJs in Oslo must have influenced me as well. The fact that I could road-test all the tracks in the very same clubs was a great asset—both in terms of how they would fit in my sets and how the crowd reacted.
Can you describe the emotional highs and lows you experienced while working on Panda?
Haha, it’s been a high all the way. No, not really. This spring, I thought, “Do I really want to do an album again?” But the great support from friends, family, and fans made me push through and decide to go for it. At one point, I probably had 30 ideas sitting on my computer, and boiling that down to an album meant killing loads of darlings. I guess some of them will surface later. But making a coherent collection of tracks is hard. I have so much on my mind, so I had to be my own A&R. And obviously, with all the work going into this project, I have to live with the fear that no one will listen. Interviews like these really help me gain faith and keep going.
How do you think Panda reflects your growth and evolution as an artist compared to your previous work?
So far, I haven’t really reflected on that. But the feedback I’ve gotten as I started sending tracks to other DJs has been overwhelming. I’ve just recently listened back to my previous album, and it feels like I’ve developed and gotten better on so many levels. I almost wish I could go back and redo some of the old songs. I also believe that if an artist stops growing and evolving, they should stop doing what they do.
What do you consider the standout moments or highlights of the album, both in terms of production and the final tracks?
I love all the tracks for various reasons. But if I could only play one of them at my next gig, I would probably choose “F With the Energy.” I’m truly happy with this one in all respects, and it sums up the album well.
Panda is out 16 August on Basement Records